Scroll below for more details about firing the wood kiln-- for more info on options, cost and, staying in the guesthouse please get in touch:)
April 27- May 4 -sold out
June 22-29 Samuel Johnson Workshop -sold out
August 10-17 -sold out
September- 14-21 -sold out
October 26-November 2 -sold out
please get in touch to be added to waitlist for firing dates
Week-long program - Sunday-Sunday
The guesthouse accommodates 8 comfortably. There are four bedrooms. See below for GUESTHOUSE details, but please contact the studio before booking.
The schedule looks roughly like this:
Day 1
arrival, intro to studio and settling in, begin glazing
Day 2
glazing, intro to glazing for wood fire ($35 lab fee if you're not participating as a workshop guest, ie, bunking in the guesthouse for the weeklong experience)
wadding
Day 3
kiln loading
Day 4
finish loading the kiln, build the door, (candling) pre-firing
Good day for cooking for firing day (potluck style meals are at the kiln during firing).
Day 5
firing
Day 6
cooling
Day 7
cooling
Sunday
unloading, clean kiln and woodfire area, departure
$1200/per person for groups of 4-6
4 cu ft kiln space
For participation as a local artist who doesn't require housing, please contact the studio.
Day visitor fees:
The following fees are applicable to artists who have spent 4 hours assisting in prep for the firing i.e. stacking wood, making glazes, repairing the kiln. if you are not able to participate in the prep work, see below for pricing.
.08 cu. in.
$45 glaze lab fee
Please measure your pots before loading.
If you’d like to have your pots fired but cannot participate in kiln upkeep and prep (this does not include firing or cleaning the kiln post firing), fees are as follows:
$5 cup or mug approx 3”x4”
$10 plate 4”-8”
$20 vase 4”x3”
$25 vase 5”-12”
For larger pieces, get in touch.
The Wood Kiln Story
In June 2019 with the help of master kiln builder Julie Crosby, we built a 38 cu. ft. catenary arch wood kiln.
This was a two year project. After many years of oxidation firing (firing pottery in the electric kiln in an atmosphere in which oxygen is always present), I decided that my work called for a different treatment. My pots were missing something. I knew I was not fully connecting to the experience of making my pots; The process of creating forms seemed intact, but once my pots were out of the kiln they lacked some element. I began to look at them more deeply and what I experienced was a call to make pots that were better inhabited, if you will, by my life, the things that matter to me -the search for truth, the state of the soul, the planet, all living things. My first inclination was to use less fossil fuel to make my work and imbue it with the somewhat unpredictable nature of atmospheric firing (manipulating the type and quality of air in the kiln during the firing process). During a residency at Watershed Center for Ceramic Arts in Maine, I fired atmospheric kilns, including a salt kiln, which I loved. I participated in a wood firing with friends and liked the results. I was looking at many pots and sculptures by artists doing atmospheric firing, and then I found myself looking at mostly wood fired work. I was still processing the process, so to speak..
Then began my inquiry into wood firing in earnest. Between November 2017 and October 2018 I visited a number of kilns. I became interested in a kiln designed by Marc Lancet and Masakzu Kusakabe, the Sasukanei Smokeless Wood Fire Kiln and visited Cerdeira Artist Center in Portugal to see the kiln and learn more about the center as its programs were similar to the model I was creating in Vermont.
Soon after I was fortunate to fire a similar kiln with Marc Lancet in Fairfield , CA at Solano Community College, where Marc has built an amazing ceramics program over the last 25 years. My interest was to learn more about the kiln he designed with Masakazu Kusakabe. I spent three days with Marc and his class and came away with really good information about their design and I gained a better understanding of wood firing.
Around the same time I was encouraged by my good friend, George McCauley to talk with Bede Clarke about his catenary arch kiln in Colombia, MO. When I saw Bede's wood fired pots I was moved to tears. I could clearly see the effects this type of firing would have on my work and knew it was the right direction. I called Bede and because he is of generous and good nature, he invited me to fire with him in a workshop he was hosting at his place. I sent some pots out to Missouri and arrived the day after. We loaded and fired his kiln. It was a blast. I met wonderful artists and came away knowing with no doubt that this was the right kiln design for my work and studio, and, again, gained a better understanding of wood firing.
I was pointed in the direction of Julie Crosby by my friends Hollis Engly and Kim Sheerin. Julie and I began a conversation that would continue for 9 months and by winter 2018 we agreed on a design. She arrived on June 14, 2019 and with a crew of four or five friends, we built the kiln in 10 days. I cannot say enough about Julie. She is a person of integrity and possesses an incredible work ethic. I now consider her a friend.
The kiln has been fired 20 times in its first five years with a wonderful group of friends who are committed to this wild experiment. Because Covid-19 made it impossible to schedule workshops, we worked as a tiny crew, taking great care to keep each other safe. We are amazed at the effects this little kiln, now affectionately called The Pony, draws out in our pots. It is just what what I wanted for my work -closer dialogue with the process and a developing understanding of wood firing while learning the dance with uncertainty, mystery, and change.
