Raku is the name given to a pottery art form that originated in Japan in the sixteenth century.  It uses its own specific glazes to create its unique effects.

After an initial bisque firing It is heated to about 2000F (~1100C) in a gas kiln. The lid is removed and the red-hot piece is lifted out and placed into a metal reduction chamber filled with combustibles.

The secret of the firing is in how this chamber is manipulated.  Reduction, in other words less oxygen, results in glossy metallic finishes while oxidation, more oxygen, results in glossy primary color finishes.  I manipulate the chamber using my judgment to balance the flow of air into it and to control the flames licking the piece.  Once the piece has cooled it can be removed and cleaned of soot before it is ready for display.

Kosai fumed lusterware uses a ceramic base with 24K gold lusters to create a durable, metallic finish.  The result is beautiful but the effort is also considerable.

A piece destined for fuming must be fired three times.  After the initial bisque and second glaze firing 24K gold luster is applied to the piece which is placed in the gas kiln and fired to about 1600F (~900C).

At this point a fuming chemical is introduced into the hot kiln.  As the fuming chemical releases noxious fumes you have to wear respiratory protection during the fuming.

Then, like most of my pottery, you wait until the piece has cooled before you find out what you have…

Saggar is a firing technique which combines elemental salts and natural, herbaceous materials to create a unique environment in which the artwork is fired in a sealed container.

The piece is surrounded by fresh flowers, foliage, sea weed, salts, chemicals and copper wire, placed into a sealed container, called the saggar, and fired in a gas kiln.

Sealed off from oxygen, the saggar is heated to around 1600F (~900C) to create a smooth, lustrous finish.  This is highly unpredictable as the condition of the piece’s surface, the distribution of the organic materials and salts, the temperature inside the saggar all conspire to determine the final results.  Once the saggar has reached the right temperature the kiln is sealed and allowed to cool overnight before the piece can be removed.

Sculpture allows me create artwork that is not bound by conventional forms and shapes.  It is always whatever captures my fancy.

Crystalline glazed pottery uses a complex high temperature firing technique to encourage the formation of crystals in a smooth, glass like finish.  Programmed with a complex sequence, the kiln works its way through many temperature variations to create the right conditions for crystals.

Generally made with porcelain, this artwork is fired for 2 days in an electric kiln until the crystals are formed.  Each piece is unique as the crystal formation is unpredictable.

In my experience, it doesn’t always work but, when it does, the results are amazing.

All glass is cut and shaped in my studio, ground into frits or powder as required then applied to the piece.  I find this is very versatile as I can make geometric shapes or even paint on glass using glass frits or powders.  Once the base piece is ready it is placed into a glass kiln and run through a programmed sequence to fuse and slump the glass as required.  One piece may undergo multiple firings to achieve the final result.

Kiln cast Glass is a relatively new area for me. This method uses glass fragments, frits and powders to cast the finished piece using a mold.  I make my own molds in ceramic, of course, once I have visualized the final design.  This can be quite tricky as the Coefficient of Expansion (COE) of the glass has to match and you have to determine how much glass to load into the mold to prevent overflow.  The glass elements have to be layered in structured fashion to get the desired results.

The firing takes anywhere from 2-3 days to complete.  I often combine glass with ceramics.

Combining many techniques and materials fusion artwork is finished with whatever takes my fancy.  I use raku, horsehair raku, saggar, kosai fuming or crystalline to finish the piece, often combined with fused, slumped or kiln cast glass.  Sometimes it is a combination of multiple techniques.

The exact finishing method I use always depends on the design of the piece.  It often takes quite some time to decide as there are so many options and I always have to consider the limitations and compatibility of the firing techniques and materials I will use for the finishing.

This is a variant of Raku that uses actual horsehair to create its particular effects.  The piece is  burnished before its bisque firing.

It is first fired to around 1400F (~800C) in a gas kiln.  Then it is removed from the kiln.  This is where judgment comes in as horsehair raku uses actual coarse horse hair from a horse’s tail to create combustion and smoke patterns on the piece.

The horsehair is applied individually by hand until the desired effect is reached.  I have to be quick as the window where I can apply the horsehair and get the required results is very short.

It is always challenging and always fun but you never know what is coming until it is done.

Firing goes to the heart of what I do.  Traditional Japanese pottery classifies firing as the most important item in creating pottery.

If you think about it all of my work uses high temperature as part of the creative process.  I have to ensure that the raw material I am using is compatible with the selected firing technique and still achieves the design and finish I have visualized in my mind and, in some cases, drawn out in a rough sketch.

And yes, I have seen firing elevate a piece from good to great.  If you don’t manage firing well, then you will not be able to make great ceramics.

I have to consider so many factors.  These factors include the material, shape and thickness of the piece and how quickly I ramp up temperatures and how I manage reduction or oxidation of the finished piece.  It is always a judgment call and I am always learning, both from my victories and from my mistakes.  When it doesn’t work I chalk it up to experience, consider what went wrong and avoid that mistake in the future.