Category Archives: In the pottery

Our first weekend workshop in the new pottery

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We have just completed the first weekend workshop in the new pottery.

We invited the potters and ex-students who had helped us clean up the mess from the catastrophic fire that cleaned us out in November 2019. We only have 8 potters wheels in the new throwing room, so our numbers were limited to the first 8 potters to get in touch with us.

Regrettably, we had to turn a few lovely people away. However, there will be other workshops coming along in the pipeline. I’ll be announcing them here on the blog as they become reality and when we have set firm dates. This first workshop was a ‘freebie’ as our thank you to those volunteers.

To help us out on this first workshop we invited or friend and collaborator Warren Hogden to join us. We started off with throwing mugs, cups and beakers.

The pottery was buzzing, with every one being busy. Janine, Warren and I all gave a demo of our throwing techniques, so everyone got 3 different approaches demonstrated, so that they could choose something to concentrate on for the day. 

Each lunch time, we asked our son Geordie, who is a ‘hatted’ chef, to come in and cook lunch for us – a very special treat.

We set up the hand-building room as our lunch room, I made a table out of a very large slab of wood from one of our trees that was killed by the fire. And rather than waste it. I couldn’t bear to see it bull-dozed, chopped up and burnt, so I hired a portable sawmill for 3 days and we milled the trees into all the planks and slabs that we needed to build the new pottery.

This solid table is one big slab of timber that can seat 12. We use this room for functions, dinner parties and openings. Our house is small, so if we need to sit more than 6 guests, we move out into the pottery where we can seat 12 to 14 at a pinch. It’s a large bright, well lit room with loads of practical, flexible space, so it has become an extension to our house in some ways.

On the 2nd day we all demonstrated turning our pots, then making and applying handles. We kept everyone busy all day for both days.

I demonstrated pulling handles from simple hand rolled coils, as well as my somewhat crude, but easily made, twisted-wire handle ‘blank’ extruder.

These ‘blank’ billets of proto-handles are applied to the pot and then ‘pulled’ in the traditional way to make an elegant, smooth, curved handle.

Janine demonstrated turning the base of her pots on a leather-hard clay ‘chuck’.

I couldn’t help by notice how things have changed over the years. These days everything is videoed on mobile phone for later reference.

Warren demonstrated the use of a ‘caulking’ gun to extrude the basic handle shape. He also demo’d the use of a plaster mould to press mound handles.

Everyone appeared to enjoy them selves. It was certainly an intensively productive 2 days.

We farewelled everyone with a very tiny taste of Geordie’s latest venture as the head distiller at ‘Renegade gin’ in Mittagong.

We had a bottle of his Australian Native Plum Gin. I served it in very petite antique Japanese porcelain sake cups. I didn’t want any one to get booked on the way home, so just 1 or 2 mls. It’s really delicious stuff. So intense, fruity and concentrated, just superb!

Old Shimpo RK1 potters wheel

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I recently bought an old Shimpo RK1 potters wheel from a friend.

It probably dates to the 70’s. These wheels were manufactured from 1958, probably up to the late 70’s or very early 80’s? 

The smaller RK2 wheel was released in 1967 and became the standard wheel from that time on. The RK2 was smaller, lighter, more portable and cheaper than the RK1. 

These larger and very much heavier RK1 wheels were built on a cast iron shell, making it quite stable, but very, very heavy. The RK1 has a kind of gearbox to increase torque when making very large pots, and the torque is finely adjustable using a handle on top of the casing to make the subtle changes needed, without stopping the wheel.

It’s a bit of a dinosaur. In fact I have only ever seen 3 of them in Australia. Les Blakeborough had one in the Sturt pottery workshop in Mittagong when I worked there in 1972. He had a special extra-large copper tray custom made for it. I’ve never seen anything else like it. My teacher Shigao Shiga had one in his studio when I was his apprentice in 1973, and Peter Rushforth had one in his later studio in Shipley. This one could possibly have been Shiga’s old one passed on to him, as they were close friends.

I missed out on getting my hands on all of these wheels when they changed hands, so I was pleased to see this one come up for sale recently.

I don’t think that it has had too much use, as it’s in good mechanical condition for such an old wheel. They were originally supplied with only a small splash guard in front of the wheel head, as were the original RK2 wheels in the 60’s. It was another 10 years before they started producing wheels with plastic trays – probably for the hobby market? All Japanese pottery studios in the early years had the wheel set down under the floor, and the potter sat cross-legged on the floor and bent forward to lean over the wheel head at floor level. Hence the arm bolted onto the foot pedal to reach up to floor level to control the speed. I had to learn to sit cross-legged just like this when I was an apprentice. As a 21 year old, it was a bit of a shock, and my legs went numb quite quickly. It took me months to get used to it. As I wasn’t accustomed to sitting cross legged on any floor, at any time. If I dangled my legs down into the wheel enclosure, they would get saturated with throwing water/slip. So I quickly learnt to throw with a minimal amount of water/slip. To this day, I still throw with almost no water.

The splash guard and it’s mountings were missing from this wheel when I bought it. This type of potters wheel is meant to be mounted in an enclosure to catch all the slip spray and turnings. I had two such enclosures in the old pottery, one for each of the smaller, more compact RK2 shimpo models that I owned back then. RK2 and RK2 super.

The good side was that you could work all week and the turnings would just pile up around the machine. Friday afternoon was the time to clean out the enclosure. The bad side was that you couldn’t change clays very easily. I use a lot of different clays/porcelain stone pastes these days and need to keep all the turnings and slip separate. So a full tray suits me better. Unfortunately, the plastic ones usually supplied with modern shimpo wheels a tediously small and so cramped that I can’t fit my fingers down into the gap to clean out the turnings. So I am forced to have to dismantle the tray to remove the turnings every few minutes, it’s so tedious. 

The marketing picture of the original RK1 from their website shows the wheel with its wheel head splash guard.

I have built new custom built trays for half of my Shimpos so far. It’s just one of those jobs that is on-going and a work in progress. I’ll get them all done in due course.

There was no easy way to fit a tray onto this old RK1 wheel with its sloping frame casting. So I had to weld up a support frame and drill and tap threaded holes into the cast iron casting to fix the new tray securely in place.

I siliconed all around the edges of the tray where the waterproof ply meets the stainless steel wall, and then glued on a strip of clear poly tubing all around the top of the steel edge to make it more comfortable for the user.  I also used the base of a plastic bucket to make a protective guard around the shaft to keep water and turnings  away from the bearings I screwed this down and siliconed it to the base as well. All good.

I made a wooden tool shelf for the end of the tray with an arc cut out to match the wheel head to allow for big batts when throwing platters.

The finished product in place and working. We now have 8 wheels up and running in time, ready for the first weekend throwing workshop, this coming weekend. This workshop was organised by invitation only, for those potters who came and helped us clean up after the fire. This one is free, as my thank you gift to those helpers. The next workshops will be advertised here to allow anyone who wants to, to apply. I’ve asked around and made a few enquiries. I’ve decided to charge a fee that is at the lower end of the current market price. I’ll be charging $125 per person per day. 

I see these proposed intermittent workshops, spread out throughout the year, as being my part-time job in retirement.

I’ll be teaching other workshops as well as throwing in the coming year; 

There will be throwing for wood firing, using my specially developed clay bodies.

Weekend wood kiln firings. Spread over two weekends, first weekend for packing and firing, then the following Sunday to unpack and debrief on the work.

One day geological field trip to collect samples followed by rock glaze testing and firing

Glaze theory and testing. + plus other topics as they appear appropriate or are requested.

Janine and I have acquired a lot of experience and skills over the years. We were trained in the 70’s when everything was done the old fashioned way and skills and theory were taught in greater detail than is done today. We are keen to pass on some of these skills before we expire.

The modern pottery workshop access classes, or potters wheel experience classes, don’t tend to teach much, if any, theory these days. We hope to fill part of that need.

Pugging Clay

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We’ve been busy in the clay making shed loading up the dough mixer with more clay mixtures for the coming throwing weekend workshops booked for the 26th and 27th of this month.  This time I made up a single batch each of vitreous white stoneware/porcelaneous body and a batch of coarse, wood firing, stoneware body using local rough crushed shale with both pale and brown kaolin powders.

We use the stainless steel twin auger Venco pug mill that I bought 2nd hand. It’s only small with a  3”, or 75mm dia, extrusion, but it is so quick, very quiet and self feeding. 

We started by recycling all the slaked and stiffened turnings from the last batch that had been sitting in the clay box ageing and waiting for the next pugging session.

Over the few months since I used it last, the clay had dried out a little in places in the barrel. Which was a little bit strange, as I had the pug mill pretty well sealed at both ends, but some of the clay dried out enough to be too firm to pass through the vacuum screen. It jammed in the screen mesh and slowed down the pugging significantly, so I had to pull the pug to bits and clean the screen. No problem! The beautiful feature of this pug mill, is that it only takes 60 seconds to rotate and un-clip the barrel, then lift it off to get to the screen. It’s so quick and easy with no bolts or spanners required. I scraped the screen clean and replaced it in 2 mins and back in business. Amazing!

The next batch of coarse textured wood firing clay was put through the dough mixer and the Venco 4” or 100 mm. dia. vacuum pug mill. This pug mill is fitted with coarse mesh vacuum screens, specifically for making clay bodies like this.

We start off by pugging all the recycled turnings from the last throwing session. These have been wet processed, bagged and then stored in the clay boxes waiting for the next pugging session with this mill. By having different pug mills for each different clay body. It saves so much time in not having to clean out the pug mill before changing clays. The recycled turnings also benefit by the time spent ageing in the clay box, increasing in plasticity over time. The new batch of clay is loaded onto the mobile clay table and wheeled out of the isolated and dust extracted mixer room, then wheeled out to the pug mill area. Janine can then start to pug the clay in a clean, dust free environment, while I return to the clay mixer room and start another batch.

The recycled clay and the new batch are then pugged together to get a good mix. But most importantly, all the pugged clay is stacked in a long stack on the pug mill bench and when full, all the ends of every pug of clay are all cut off and mixed together, and fed back through the pug mill, so that there is a little bit of every part of the new batch and all the turnings all aggregated in the new sausage of clay as it comes from the pug. This thrice pugged and well blended clay is then bagged and back into the clay store ready for use. This double processing and blending eliminates any variation between the first and last pugs of clay from that mix.

It doesn’t eliminate any mistakes in the weighing out or the dough mixing, but it minimizes the possibilities. Life is what it is.

Nothing is perfect, nothing is ever finished and nothing lasts for ever.

All the machines are built on trollies or castors, so that once all the clay is bagged and stored away, I can then wheel all the machinery out of the way and mop the floor clean of any spilt fragments of clay, dropped while pugging. The whole area is opened up to a through breeze, and thoroughly wet cleaned and mopped, then allowed to dry, before the machinery is wheeled back into place.

It’s not perfect, nothing is, but it is very good and the best that I can do at the moment using the machines that I could get my hands on 2nd hand at the time, and others donated from friends. You know who you are! I thank you from the bottom of my heart for your support and thoughtful kindness!

Fire and Ash Exhibition

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Janine and I have work in the ‘Fire and Ash’ exhibition at the ‘Lowe and Lee Gallery’ in Sydney. The show opened last Friday.

I have a few wood fired bowls that had minor damage during the firing, and I repaired them with gold. If I was Japanese, or working in Japan using traditional materials. This work would be called ‘kintsugi’.

However, as I’m in Australia and using very westernized hybrid techniques, methods and materials. I choose to call these bowls ‘gold repair’ pieces. The only common material is the 23 karat gold.

I did a course on kintsugi repair when I was in Japan, but the uniquely Japanese materials like the sap of the Rhus tree are not readily available here in Australia, or not that I know of.

Also, it is worth noting that the sap of the Rhus tree is highly toxic and not to be used without extreme caution PPE. It causes Toxicodendron dermatitis.

So I have invented my own hybrid methods that incorporates locally available materials, like 5 minute epoxy glue instead. I make up my own blend of high strength filler putty, and I also make my own grinding and polishing discs to buff the surfaces up to a fine finish.

After a bit of work, they are greatly improved and given a new life. By selecting them as special and showing them some respect by repairing them. They are made even more beautiful, even with their scars, chips and cracks.

After the long weekend Open Studio Sale

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As soon as the Pop-Up long weekend Open Studio sale was over, we got busy tackling the next big urgent job.

That job is dealing with the cracking and spalling of the big sandstone blocks that we used to make the retaining wall behind the pottery.

I knew when I bought them that they were rejects. I naively thought that they were cheap because they were split in an irregular way and not square, but tapered. That didn’t worry me, as I could arrange them so that they had a reasonably flat and square face outwards. I could hide the unevenness in behind the grave back-fill.

However, as it has transpired, the real problem with them, and the reason for them being very cheap, is that they are not hard sandstone, but rather soft and sugary.

Bummer! 

Over the past 3 years that they have been sitting there year in, year out, through the rain storms and winter frosts, they have begun to spall. Water soaks in to the porous stone and when the frosts come and the ice expands, bits of the face split off. Recently we noticed that the blocks were beginning to split down the centre, not just the face and edges. This is serious stuff. If not dealt with immediately, the stones will start to loose their stability.

I decided that the best approach would be to cap the stones with some sort of waterproofing system. We had a load of old roofing slates stacked away under the railway station. They came off the roof of my brothers house before it was demolished many years ago. We always intended to use them as floor tiles, but never did. So we have plenty of these old weathered slates. We needed to get them out from under the floor and give them a good scrape and clean, then a good scrub and a wash to get all the grunge of history off them, so that we could get the cement to stick securely. 

We spent 2 half days fettling and washing the slates. A cold, wet job for the first of winter after a cracking good frost.

I took the truck down to the sand and gravel yard each day to pick up half a tonne of sand and 7 bags of cement each day for the 3 days that it took us to get the job done. We employed a young, local guy to give us a hand, as we are getting too old for this kind of heavy work on our own these days.

Using our very old ‘wabi-sabi’ Steam-Punk cement mixer that we bought 2nd hand for $50, 35 years ago. We mixed 14 loads a day and got through 1  1/2 tonnes of sand and 20 bags of cement to render a 70mm thick bed of mortar over the stones to get a continuous straight level, thick enough to be water proof and strong enough to cap the stones and support the slate capping.

Time will tell if this has worked well enough to deter any further spalling. I did notice that there was enough embedded heat energy in the stones, such that after the frost melted in the morning, the slates were very soon dry, except where the edge extends over the stonewall to create a clear drip line. The extended slate stayed wet, frozen and cold.

We still have a lot of paving to do, but everything in its own time. This job was an absolute priority now that winter is here and the frosts are back.

Arts Trail. Open Studio Sale

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As the Open Studio Sale Weekend draws closer, we have been working hard to get all the pots fired in time.

This past week we have done several firings in 4 different kilns, 2 solar fired electric kilns, and 2 of the wood kilns, big and small.

I have been following on with my inclination to develop a decorative image that illustrates the remarkable change in my state of mind.

One day, a few weeks ago, after completlng my EMDR therapy, I was busy at my decorating table, painting some of my bowls, when something remarkable happened.

I was painting the stylised bush fire flames motif that I had developed and have been working on for some time. The sort of gestural image that crops up in my dreams. When I suddenly realised that over the few recent pots that I had been working on. The image had subtilely changed from an improvised flame image, slowly but surely, to an image of garden flowers.

I had started painting an English cottage garden scene!

I was somewhat surprised to say the least. I was also very happy to see such beautiful and reassuring scenes becoming reality as I worked, in front of my eyes. Something in my head had changed irrevocably, and for the better.

I feel so much better these days. More relaxed, and I have a sudden burst of creative energy. I’m painting furiously and firing one or the other of the 2 solar PV fired electric kilns every day.

I’m so pleased to show these new pots and decorative images in the Open Studio weekend sale next weekend. 10, 11 & 12th of June.

The initial home-made cobalt goshu pigment and gold lustre design.

The beautiful floral image that developed out of the flames.

And then the English Cottage Garden design that emerged.

All these pots and others in a similar vein will be for sale in the studio this coming weekend, plus our usual wood fired kitchenware pots.

We will have tea, coffee and cake here on the day to share while we chat with you.

See you soon.

Three Wood Kiln Firings in Two Weeks

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We fired the big wood kiln last weekend, then during the week, Janine packed and fired the little portable wood fired kiln.

We have put the Sturt ’Terra Nova’ show up and it is going well, with a big turn up at the opening. We got to catch up with loads of people that we only usually see at conferences, and as I don’t go to a lot of conferences, nor do I go to ‘openings’ to do ‘networking’. Well, I don’t get to catch up like this very often. It was really good.

Our next big event on the horizon is the ‘Pop-Up’ Artists Open Studios Arts Trail, that will be on the long weekend of the 10th, 11th, and 12th of June. Hence the flurry of firing activity now in preparation. We have been making all year, and firing in the smaller kilns, the solar PV fired electric kilns. We don’t fire the wood kilns over the hotter part of the year, and certainly not during the fire-ban season. So it’s all go now.

Using a combination of elm garden prunings and some thinly split eucalypt (many thanks to our friends, Susan and Dev, who helped split a lot of side stoking wood with us a month or so ago.) Janine was able to fire up to Stoneware in reduction in 4 1/2 hours. A perfect firing for a little portable kiln.

At the end of the firing, Edna the chicken came to check it out. Janine and Edna had a little chat, cooing and clucking together. The gist of it was probably around the matter of if there was anything for a chicken to eat?

I have been packing the big wood kiln again for another firing this coming weekend. The slowest part of packing the big wood kiln is rolling out all the thousand little clay balls of wadding. Each pot has to sit on a ring of little balls of refractory wadding to stop it sticking to the kiln shelf. Over time, and many, many, firings the kiln shelves get a coating of molten fly ash from the burning wood, and if the pots aren’t held up off the shelf, they will fuse together at high temperature becoming a monolithic whole.

First chamber finished and clammed up.

I think that I probably spend a quarter of my time rolling out these little balls, only to throw them away after the firing. Actually, Janine re-uses them as aggregate in the bottom of planter pots around the garden. However, when we first set out on this creative journey, back in the early ’70’s, because we had very little money and couldn’t afford to buy the very expensive kiln shelves that we needed to pack the big wood kiln. As a work-around solution, we decided to make our own. This was a very tricky bit of ceramic chemistry, and only one other husband and wife couple of potters, Harry and May Davis in New Zealand were doing it. We went to work with them to get some insights, and came back and made our own kiln shelves for next to nothing in terms of cash outlay, but a lot of time invested.

The cost of the high alumina grog used to make refractories was prohibitive, so we made our own. For every firing in the little test kiln that we had, I used very high quality, high alumina kaolin from Mudgee. Puggoon 157 kaolin, purchased directly from the mine not too far away, to make the wadding balls. After firing, instead of throwing them out. I put them through the rock crusher and turned them into high alumina crushed grog. All the failed experimental kiln shelves were also put back through the crusher, mixed with more kaolin 50/50 and used again. Eventually we had enough kiln furniture to fire the big 300 cu. Ft. wood kiln at next to no cost. They weren’t very good, but just good enough and this exercise in self reliance got us going. We still have them, but they are rarely used these days, because the new silicon carbide kiln shelves from China are both affordable and excellent quality.

Photos of me, as a much younger man, making kiln shelves, taken by Janine King

Last week of Autumn

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In this last week of autumn, the days are noticeably shorter the weather is so much cooler, and the frosts have started. The tomatoes are dead, but wait. What’s this? Still just a few green tomatoes in among the undergrowth and weeds. AND, 3 red ripe ones!

We are picking plenty of broccoli and cauliflowers. Winter is almost here.

There are just a few very small zucchinis still on the bushes. I need to pick them before they get frosted again and go mushy

All the apples are finished and we have just picked our last pear. We have started to pick the winter citrus. All of the citrus trees were badly burnt in the fire, as they were growing along side the pottery kiln shed wall. The closest ones were killed, those further away got badly scorched, but with a severe pruning away of the dead wood, fertilising and watering. Then planting new trees in the vacant spaces. We have a citrus grove once again. Because many of the trees are still very young, just two or three years old, We have a lot less fruit to look forward to. We are almost through the Japanese seedless mandarins. It was a small crop of 30 or so. The tree is still very young and this is only our 2nd crop, so not too bad. The Japanese yuzu has just two pieces of fruit on. This is its first crop. The kaffir lime trees out the front of the house got very badly burnt, but are making a come back with a lot of pruning and TLC. The stronger of the two trees had over 60 fruit on this year. We only grow it for the leaves, so the fruit is picked off to allow the tree to flourish.

I don’t like to see anything wasted, so I decided to juice 20 of the kaffir limes and make lime juice ice blocks for next summer drinks. I think that it might go well with tequila? It’s a quite sour and bitter form of lime juice perhaps best suited to cocktails?

We have also picked up a fallen grapefruit off the ground, our first, which was very tart and sour. Plenty of room for improvement there as the frosts and winter sunshine sweeten them up.

The other fruit that is plentiful at this time of year is Australian native lilli pilli. This tree survived the fire in behind the house, away from the heat and flames, but it’s a very tall tree and the top branches that extended above the roof got burnt off. It is doing well now with a good crop of pink berries. You can’t eat them, they are only used to make jam or cordial.

I got up on the tall step ladder and picked enough to fill a basket, once I sorted out all the leaves and twigs, there was sufficient to fill the big 10 litre (2 gal) boiler. Simmered for half an hour and then the fruit is discarded and the liquor left to simmer down to a concentrate of about 750 ml, a bit more than a pint. Quite a big reduction to concentrate the flavour. It needs half a cup of sugar to make it desirable.

We had to light the wood stove in the pottery for the first time this year. The pottery is so well insulated, that just keeping a small fire ticking over in the stove heats the throwing room area to a gentle comfy warmth. It’s a very nice place to work, great light, comfy warmth, plenty of space.

What more could you want?

Nothing is ever finished, Nothing lasts and nothing is perfect.

Bush Tucker, Safron and More Tomatoes

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This week we have been hard at it everywhere, in the garden, in the pottery In the kitchen.

We thought that we had harvested the last couple of wheel barrows of tomatoes, but then we looked again and there were more.

Janine made two seperate 1 gallon boilers of passata, which I put through the mouli sieve and then reduced down to 1 gallon, or 4 1/2 litres of fine liquid, which Janine then reduced down further on the wood stove each night progressing a bit at a time until we had just 2.5 litres of dense concentrate, down from 11 litres of initial pulp. It takes a couple of nights to get through it all. It’s better than trying to find the non-existant intellectual shows on the idiot box.

While the wood stove is hot after dinner is cooked, it’s a shame not to use up all that potential heat embedded in the stove. It not just cooks the dinner, it warms the house and heats the hot water tank. So to get an extra bit of benefit from it is very frugal and efficient. F@#k the gas companies and energy retailers, gouging excess profits from the misery of war and bad forward planning. We are very lucky here to have been through a terrible fire that has left us with thousands of dead trees in our forest that I couldn’t have ever brought myself to cut down in their prime. But now that they are dead from the bush fire they need to be cleaned up to make the place safe again. Fuel for the rest of our lives. As I said, very lucky. You have to look on the bright side.

We were a bit shocked when Janine had to re-arrange the pantry cupboard to fit these recent jars in. We discovered that we now have 79 jars of passata. We could easily go into business selling this stuff. It’s not as if we are not eating our fare share of tomato and egg for breakfast, tomato salad for lunch, tomatoes in ratatouille for dinner, as well as giving away tomatoes to everyone who calls in and visits

But still they come ripening, even now in this cooler weather. However, they must come to an end soon, as the night time temperature is dropping rapidly down to 3oC this week. Soon there will be frosts again and that should put an end to it.

I was so looking forward to the start of tomato season back in November/December. I could just brush the young leaves and smell the tomato fragrance that promised so much. Now I don’t want to touch the leaves so much any more. I’ve had my fill. This is the reality of living with the seasons. The promise, then the first taste — so good, then the glut, and now enough.

I’m sure that we will appreciate the bottled tomatoes over winter in all manner of cooked dishes, to add and extend flavour to almost anything. Passata is a useful and flexible as chicken stock. We have some of that in the freezer too.

We have already picked another few baskets full of prime ripe red produce to make the next batch. Anyone want any tomatoes?

In the pottery, I cleaned out the small Venco pugmill that I use for porcelain. It was starting to allow a few small bits of dryish crumbs through the screens and into the extruded pugs. It has been a year since I last cleaned it out. Unless you use it every day or at least every week. Bits dry out inside the barrel and eventually cause trouble. I hadn’t pugged any porcelain since last year. So now is the time to deal with it. Starting out fresh for the coming work load through till Xmas.

I have found that it is easiest as a two day job. Strip it down last thing in the afternoon, Scrape off all the easily accessible plastic clay. Leave it over night to dry out, then scrape off all the dry clay, and finally sponge it until it is all clean, then reassemble, first thing in the new day.

I have been throwing some gritty clay, making some rough textured bowls for the wood firing. 

I have also been making some porcelain dishes for the wood kiln as well.

Back in the vegetable garden we found a great surprise! Our first crocus flower. Janine picked out our first two saffron stamens. We ate one each, just to see if we could taste the fine flavour. We couldn’t. But we did get just a little hint of orange colour on our tongues. Hopefully there will be more to follow, as we have 20 crocus bulbs in the garden. We might double our harvest each year? We might eventually even get enough to be able to taste it.

I made a bush tucker pie for dinner from our massive crop of wild warrigal greens – native spinach. It turned out really well. Cooked with 3 cheeses and one egg to bind it. Not a tomato in sight!

Cheesy grins all round.

Autumn is finally here

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We are almost half way through autumn now, the Indian summer is over and the weather has turned cooler. No more 30 degree days. This past week has been steadily in the 20’s and with rain or showers almost every day. However there are bright sunny patches in between. I’ve been working my way through the big pots that I threw to begin this throwing session, bisque firing them in the electric kiln using only pure sunshine. The recent addition of extra solar PV panels last year, bringing us up to 17 kW total and the addition of the 2nd battery, means that we are able to fire without any withdrawal from the grid. I can even fire both electric kilns to bisque at the same time, or just one kiln to stoneware. This is a great sense of independence.

With the price of gas having gone up from $1.75 a litre last year to $2.50 this year with no additional increase in the production cost. It’s just profit gouging and it’s a complete rip off. 

So I’m very proud to be able to fire my kilns with my own sunshine. And drive my car off it as well! It’s amazing that there is enough to go around, but we still export our excess on the days when we are not firing. We even manage to export a little in the early stages of the firing.

This is from our most recent electricity bill. Our daily usage is down to 0.76 kWh per day. Down from 1.64 kWh per day the previous year. When we were doing more firings.

The average Australian 2 person household like ours is using 17.6 kWh per day. So, it seems that all our efforts to tread gently in the world are paying off. We run a very efficient, low energy house hold. 

Some time later this year, or maybe next, We will be getting rid of our old LP gas kitchen stove. That is our last big investment in our conversion to fully solar electric living. I’m waiting for induction cookers to become more widely available and hopefully a lot cheaper. I have already installed a twin induction cooktop in the pottery. It was only $350. Very affordable.

A sign that autumn is well under way here is the change in the Cherry trees, as they shut down and prepare for winter. They are early to fruit in spring, and correspondingly, the first to loose their leaves in the autumn. Our bedroom looks out on to the Chekov orchard. We currently have a carpet of yellow leaves out side our window, that is slowly turning brown.

Janine has been collecting more hazel nuts. So far she has picked up 3 baskets full, and there are still more to come. First, she shells them, then checks them for nuts, by bouncing them on the table. If they bounce, they are empty and are discarded. Not worth the energy to crack them to find them empty. The full shells are then cracked open and the nuts are dried in the sunny window for a while. Later she roasts them in a pan on the stove to bring out that superb hazelnut flavour. It’s an ongoing job that is spread over a couple of months. Fitted in here and there whenever the time allows. Most often in front of the idiot box — if there is anything at all worth wasting time on, which is an increasingly rare event

The hazels have already started flowering again. The male ‘catkin’ flowers are out now. I often wonder why? As the female flowers don’t come out until the trees are dormant and have lost all their leaves. The female flowers are quite insignificant and very hard to see, just a pin head sized red dot. They don’t attract any pollinators at all and are wind pollinated, so we have planned out our hazel nuttery of a dozen trees, in such a way as all the best pollinator varieties are up-wind of the predominant winter gales that blow the male pollen down among all the waiting and fecund female flowers.

This is the Hazel nuttery and I am the Nutter. Two of these hazels were bought with an inoculation of French Black truffle spores. So we have some vague hope of truffles in the future — maybe? I planted a dozen different truffle inoculated trees of various types and they all got burnt to the ground in the fire. Only 3 trees re-shot from their root stocks. As truffles are a fungus that lives underground. I’m hopeful that the spores are still active and will one day produce a little surprise for us. But I’m not holding my breath.

In the pottery, I have been making smaller pots that are quicker to dry, so that they will all be ready for a wood kiln firing after Easter. I’m not sure if my skin is getting thinner and less robust with age, or these recent clay body experiments are just more aggressive, but I’ve found that I’m wearing away the skin on my finger tips so much more readily than I used to when I’m turning.

I used to only wear rubber ‘finger stalls’ when turning rather dryish hard stone porcelain bodies. Now I find that I have to wear them all the time when turning.

I’m really pleased with my home made larger format wheel trays that I built for the shimpo wheels. I can turn for an hour without filling them up. They hold 50 bowls worth of turnings.

I have also been throwing on my kick wheel as well. It has a decent sized tray. I made 50 bowls on it yesterday. I started with a dry tray and ended with an almost dry tray. I have learnt to throw with a minimal amount of water. Just a few drips and splashes make their way off the wheel head.

Our local council is offering a bulky rubbish clean-up day this week. So the village has been dragging out it’s unwanted lumpy rubbish on to the side of the road to be taken away. Furniture, mattresses, electrical appliances, etc., it’s all piled up in clumps out in the street.

We have nothing to put out, But I make a point of riding my bike along the street to get a good look at everything that there is out there for the taking.

I went back with my truck and picked up 3 wheel barrows. One had a flat tyre and ruined wheel bearings. I pumped up the tyre and it held air over night, that was good, so I bought a pair of wheel barrow bearings for $6 each and in 15 mins, I have a perfect wheel barrow ready for work.

The 2nd one had a broken tray, but everything else was good, so off with the tray and back on the clean-up pile. A new replacement tray is $59, so I ordered one. The 3rd one is old and has been used for concrete, but works well. No issues there. Good to go.

Three wheel barrows for $70.

Reuse, repair, re-purpose and re-cycle. I’m happy.