Open Studio Sale, Sat 7th November, 2026

I will be opening our pottery for the Australian Ceramics Assn. National Open Studio Sale Day on Saturday the 7th Nov.

I recently fired the big wood kiln and have spent some time cleaning, grinding and polishing the pots before moving them into the Gallery.

I have also been working on developing a new opalescent blue glaze using the wood ash that we collect from our kiln firebox and wood stove.

You couldn’t get a more local glaze with zero carbon miles. All the wood we burn is grown and harvested from our own forest that we have been managing and encouraging for the past 50 years. It’s a beautiful local expression of sustainable ceramics.

I will also be showing 25 or so of my recent Korean inspired Australian Moon Jars.

I this recent wood kiln firing, I have been experimenting with a new proto-celadon glaze, vaguely similar to the ancient Thai celadon bowl that I have in my collection. It’s a rough piece of peasant ware with a pale, coarse clay body. I love its direct honesty. I aspire to make locally honest, simple and environmentally sustainable pots like this one. My new test glaze is based on 60% single stone porcelain body mixed with ash and limestone. A very old fashioned traditional approach to glaze making. I have also been studying an ancient simple peasant bowl from near Jingdezhen in China, something that I happened upon in the local market on my last visit. Heavily crazed, chipped and dirt stained, but I love its simplicity. I decided to try and make something that has some of the qualities of both of these lovely, simple, elegant, peasant wares.

So I made a special batch of open textured, pale clay body and came up with this test cup. I’m very pleased with the possibilities that it offers. I need to apply the glaze a lot thicker next time to get a better, thicker, and therefore richer, colour response all over, and n ot just at the foot. As the glaze is 60% porcelain stone, it is quite thick, creamy and viscous and I was concerned that it might crawl if applied too thickly. I’ll be a lot braver next firing. I think that it could work well as a ‘raw’ glaze? If not, I’ll have to calcine some of it.

If you suspend disbelief and stare closely at the thicker areas of glaze down near the foot and deep inside, there just might be potential there for something quite beautiful? Just another 6 months of research and a dozen firings, and a bit more work on the clay body and I might have something?

Or not?

You need a good dose of optimism and creative imagination to make this kind of traditionally inspired, but contemporary focused localised ceramics.

I cleaned and ground all the kiln shelves and props after the firing, before putting them back in place, ready for the next kiln. I then had to crawl into the kiln firebox to chip out the fire box slag and clean out the mouse holes, before replacing its cover. It used to take me just one day to do all of this cleaning, grinding and minor repair work, but these days it’s taking 3 days. As I age, I don’t want to over do it and then not be able to work at all. So I’m taking it easy and gently, I’m in it for the long run.

I have been selected to show my work in the up-coming exhibition at the Manly Art Gallery in early 2027.

I’ll be showing one of my Japanese tea bowl inspired bowls that I fired in the wood kiln, up the front of the setting, just a little way back from the ‘Zone of Death’. Just close enough to the front to get a lot of ash, but far enough back to allow it to be glazed all over with a felspathic glaze without picking up too much grit and slag. I can only fit a couple of pots in this space, so perilously close to catastrophe, but just inside the ’SafeHouse’ zone for some degree of success. However, good pots are few, as there is always the chance of a rogue log being stoked too vigorously, that can bring the whole setting down like skittles. I like to fire the early part of the firing on my own to take the firing through this danger zone and on into the safer period of firing on the hobs. There is also something tranquil and calming about the stillness of the predawn. It’s the best time.

I have recently been reading these few books since my return from Korea. A thought provoking mix of science topics, interpreted into common parlance for the  non-scientifically trained reader.

We hope to see you on Saturday the 7th of November. I’ll bake a cake, so that I can have tea, or coffee and cake available for you, if you want to sit down for a chat. I’m happy to show you around the studio and kilns, plus explain how we prepare all of our own raw materials here onsite. and how we make our own special clay bodies.

Late Spring Kiln Firing

It’s 3 am, and I have just started the firing in the wood fired kiln. It’s absolutely and totally silent, except for the tiny patter of rain drops on the pottery roof. It’s raining ever so gently, which is perfect for me. 

Firstly because we need the rain for the garden and fruit trees. It hasn’t rained very much for the past few months, so everything is just getting by with hand watering. Hand watering just keeps plants alive, but they don’t really thrive like they do when it rains.

All the water tanks are also very low now. I spent two days pumping water up from the big concrete water tank down the bottom of our land. It gets its supply from both the pottery roof and the barn. Both very large buildings, so they have a combined catchment of about 500 square metres of corrugated iron roofing. Its a great resource to have such a large roof area for rain water catchment.

Secondly, it’s very nice to have this light rain, because we are now into the fire season and when it is hot and dry, firing the wood fired kiln is dangerous because of the possibility of stray sparks. I have dealt with this issue, by installing a combined afterburner/spark-arrestor/water spray scrubber on top of the kiln chimney. But the rain is welcome, as it eliminates any issue to do with stray sparks, even though there aren’t any. But just in case.

I always ring the bushfire control office in Mittagong, to tell them that I am firing my kiln. I don’t ask permission to fire. I just call them to inform them that I am firing, so that if anyone calls in to say there is a smell of smoke in our village, they should call me first to check if it’s from my kiln, rather than send out a fire truck for no reason.

Nothing has ever happened. Simply because I alway fire so cleanly, with a just a minimum of occasional smoke after a heavy stoke. So no one ever really knows that I’m firing.

I recently decided to delay this firing by a few days, adjusting the chosen day in regard to the long term weather forecast. I have moved it twice to coincide with this expected rain event. Just a couple of days ago I moved it forward again, by one more day, as the forecast became more accurate, to make sure that the firing would coincide with this wet weather.

Just before 5 am, the dawn chorus starts up. It’s still quite dark, but there is the faintest glow on the horizon. The birds sense this change and are awake and ready to start their day.

Quietly at first, just a few delicate murmurs. A little tweet here and there, but slowly the other birds wake and add their voices. The calls build up, as all the others join in the chorus, then it subsides again, as they build up their confidence and fly off to do their days work. The pattering of rain drops on the iron roof slowly increases and out weighs the delicate bird song. Slowly the light increases and it’s dawn.

We have become so used to living here in this dry environment over the past 50+ years, that the sound of rain on the corrugated iron roofing is a very welcome and reassuring sound. I didn’t grow up with it, but have learnt to love it. We have to spend time cleaning gutters to catch any precious rain, whereas our friends in Wales spend their time digging ditches and drains to shift their rain away and off their sodden farm as quickly as possible. They rely on a well for their water supply and so far it has never dried up, even in these recent months, over a hot dry summer, they report that their well is still suppling their water. 

We rely on rain too, but we catch our supply in rain water tanks for storage. We have learnt that ground water is too inconsistent here. Dams fill up in the winter, hopefully, if there is sufficient heavy rain storms to flood the gutters and flow down the water channels and hopefully fill the dams. But it doesn’t always rain that hard.  Light showers of rain add to the total of measured rainfall, but it doesn’t fill dams. If the dams fill in the winter rain, they then dry out in the summer heat, evaporation is intense here in our hot dry summers. Especially when it’s windy. We have allowed native shrubs and small bushes to grow all around the edges of our dams to slow the air flow over the surface of the water and create some shade to slow down the evaporation, but they still dry out over time, we can only slow down the inevitable evaporation when the hot dry winds blow in from the desert country in the west.

So rain water storage tanks are the reliable option for our life here. You have to have storage in excess of the expected average rain fall, because it doesn’t always rain evenly throughout the year. We can get huge rain storms with tropical intensity, then nothing for months. We have learnt to catch the water from those heavy rain events, then store it and use it judiciously throughout the rest of the year.

I always keep a few buckets of water near the kiln and wood stacks, just in case of sparks jumping out of the air holes in the firebox. I have seen a few sparks pop up out of the lid occasionally, with some particular timbers that crackle and spit. It would take too long to run down to the dam and start the irrigation pump or fire fighting pump to get the pressure, so as to run a hose and extinguish a sudden fire in the wood pile. So several buckets are full and on hand around the kiln.

It’s now well past dawn and the kiln is burning well. I have the scrubber working in the afterburner/scrubber on top of the chimney. Everything is in order and ready for the long day of firing ahead. I usually get started when I wake up. Today that was 3.00 am, but sometimes as late as 5.00 am. I usually fire from between 12 to 15 hours. I like to finish around 9 or 10 pm, so that I can go back to bed on the same day that I got up. It helps keep my daily rhythm so that I don’t end up getting exhausted. Wood firing can be quite demanding on a potter and energy intensive, so every little thing that can ease the strain and effort expended is welcome and a good thing.

Cutting, carting, splitting and stacking wood takes a lot of time and energy in preparation for each firing. I spent 3 days on wood prep for this firing. I also spent another 3 days in glazing all the pots and then 2 days packing the kiln, one day for each chamber. Each pot has to have lots of little soft clay balls attached to its foot ring, to keep it up off the kiln shelf, as my kiln shelves have had a hundred firings over the years, and are covered in sticky ash glaze. Even though I clean them and re-paint them with kiln wash every time.

I refuse to start a firing until all the wood is properly prepared and stacked neatly onsite and every thing is completely in order and ready. I have witnessed the chaos of potters trying to fire and cut the wood in between stokes. Wood firing takes a lot of concentration and effort without having the stress of doing other demanding and energy intensive jobs at the same time. As I have become older,  I have become more aware of how much energy it takes to prep the kiln and prep the wood, then pack and fire the wood kiln. It is at the end of a firing, when you are tired that you need to make the most critical decisions. It requires focus and acute thinking, hard enough without having to split wood at the same time. It is also important to have the area around the kiln to be neat, clean and free of trip hazards. Bad things could happen when you are tired, it’s dark and possibly in a rush.

As it’s spring, we are getting a lot of eggs each day now, up to 5, so we are giving some away to the neighbours. One of our students, Sarah, has been here helping us, she likes to collect snails to feed to the chickens, the day after a very big snail collecting effort, one of the chickens laid this massive 105 gram, double yolker egg. So Janine made a savoury cheese soufflé. We are also in peak asparagus season too. Luckily, they go well together.

This week we made a very nice pasta dish by frying sage leaves in butter with garlic and serving this as a dressing over organic wholemeal pasta spirals with a few olives. SO good.

Welcome to our organic, wholesome, romantic idyl as post-modern peasants