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Fire and Ash – Sept 2024

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Lowe and Lee Gallery

Fire and Ash – Sept 2024

Steve Harrison Opening Statement – Towards a Greener Wood Firing Practice.

I have been wood firing for over 50 years now. Gosh, how time flys.
I never thought that I’d live this long, never mind still be wood firing at this age.
But Peter Rushforth was still wood firing right up until a few years before his death in his 90’s.

I became interested in firing my pots with wood while I was in art school at the old ESTC in 1971.
There was no wood fired kiln at East Sydney back then. In fact there were no student built kilns there at all.
However, I changed all that when I started teaching there in 1974. I built half a dozen wood fired kilns. In fact ESTC, got a reputation as the place to go if you wanted to learn about wood firing, at that time. This reputation was further enhanced when Bill Samuels joined the staff a few years later and built a tunnel kiln.

Returning to 1971, I realised while I was still a student that if I wanted to fire with wood, it would have to be in a self made kiln, built in my parents back yard. I had very tolerant and supportive parents!
I was drawn to the quiet, natural qualities of wood firing. No one was wood firing back then in 1970, but I was influenced by my reading of books on Japanese tea wares. The pieces that I was drawn to were all wood fired, from Iga and Shigaraki, through Shino wares to Bizen pieces. All my teachers, Peter Rushforth, Col Levy and Derek Smith were firing with oil fired kilns. Bernie Sahm was firing with coke and later LP gas. Shiga Shigao, with whom I did my apprenticeship a few years later, was also firing with LP gas.
So to fire with wood, for me, meant going it alone. Luckily, I had my partner Janine king who was also keen to fire with wood.

The only pottery book on the market at the time was Bernard Leach’s ‘A Potters Book’, everyone had a copy. It was required reading. In there Leach states that he built his first wood fired kiln in Japan as a student. It was a complete failure. He failed to get to temperature and also managed to burn down the kiln shed and studio in the process! He tells how wood firing is dirty, smoky, very difficult and exhausting. Possibly so, but Leach was an English Gentleman, not used to any hard physical work. He and Hamada, later built a 3 chamber climbing kiln, when he returned to England to set up the Leach Pottery in St Ives, but soon converted it to oil firing. Wood firing was just too demanding and difficult.

Leach states: “The reluctance of many kilns to rise above 1200oC to 1300oC has been to many another potter besides myself a cause for anxiety and even desperation. The firing is the climax of the potter’s labour, and in a wood fired kiln of any size it is a long and exhausting process. Weeks and months of work are at stake. Any one of a dozen things may go wrong. Wood may be damp, flues may get choked, bungs of saggars fall, shelves give way and alter draughts, packing may have been too greedily close, or for sheer exhaustion one may have snatched an hours sleep, handing over control to someone else and things begin to move, to warp and to bend, the roar of combustion takes on a deeper note—the heavy domes crack and tongues of white flame dart out here and there, the four minute stokes fill the kiln shed with bursts of dense black smoke and fire. Even in the east, where hand work is usual and labour specialised, a big kiln firing has the aspect of a battle field where men test themselves to the utmost against the odds. This may sound like discouragement, but it is the simple truth”.


Having read all this, it seems that all of the Australian potters followed suit.

The only wood fired kiln in Sydney when I was a student was at the University of NSW, in the Industrial Arts Dept. It was fired just a few times a year. Ivan McMeekin forbade any outside visitors to firings. Possibly on OH&S grounds. But especially students from the National Arts School, who he looked down on as being a bit radical and not properly trained. However, I used to turn up for the night shift after 5 pm when he had gone home, and made friends with some of the students. Ron Balderston and Geoff Crispin. I still see Ron, we became friends. I learnt a lot there. I sat quietly, was respectful and did a large share of the wood carting and stacking to earn my keep.

What I learnt at the uni of NSW, was that wood firing can be a quiet, easy, relaxed, efficient and a clean way to fire pots. It can be a beautiful experience! If you prepare yourself well, with all your wood cut, split and stacked next to the kiln, and if the kiln is built in a well planned, decent space with room around it and well ventilated. It is a remarkably satisfying experience. Whether this is how it is for you is entirely up to you to get your preparations in order. We have come a long way since Leach in the 1940’s.

I believe that it is widely understood by those who know me, that I am a Greenie! I am always looking for better, cleaner, more environmentally friendly ways to fire my kilns.

It is generally understood here how wood firing can be carbon neutral. The carbon in the wood fuel comes from the air and is returned to the air when burnt. If the tree is not burnt, but left to rot in the forest, all the carbon is still return to the environment, but on a longer time frame.
However, cutting forest to burn as fuel can be an environmental disaster. Just think of Queenstown in Tasmania!

It all depends on how you go about obtaining you wood fuel, and how you choose to burn it. Janine and I are lucky enough to own our own forest, that we have nurtured and lightly harvested for its dead wood for almost 50 years. 48 to be precise.

But being carbon neutral is not what occupies my attention these days. There is the problem of particulate emissions from our chimneys, This is going to be a big issue into the future, not just smoke from chimneys, but the very fine PM2.5 particles. I understand that Canberra has now banned wood burning stoves within the city boundaries because of the health issues. Potters who claiming that “I only reduce at night”, or “I Live out in the country side” doesn’t remove the problem. It isn’t a responsible or thoughtful answer.

Over the last couple of years, I have been experimenting with an afterburner/spark arrestor/scrubber on top of my chimney. This is my attempt to reduce my particulates. It’s a work in progress at this stage, but I believe that I’m making some progress.


Stainless steel ‘Scrubber’ installed on top of the chimney.

We all have to do our bit to keep the environment as clean as possible while still living a creative life. I chose to fire my kilns very quickly to minimise the destructive environmental effects of my work. Janine’s little wood fired kiln fires in just 5 hours, my larger brick kiln is fired for about 15 hours. But I use a down draught fire box (Bourry Box). This makes for a relatively clean firing. It doesn’t put a lot of ash on the pots, but it ‘flashes’ the glaze surfaces, and enhances the look and feel of the pots. I really appreciate these minimal ash effects on my glazes. Just look at the work of Gwen Hanssen Pigott. Beautiful, elegant, lightly flashed wood fired surfaces.

I really love the delicate ash deposit that I get on the surface of my celadon glazes. it enhances them. It doesn’t detract in any way.
Of course, right at the front of the setting where the ash and embers meet the first rows of pots. A lot can happen there. This is a place I call the ‘Zone of Death’, because a lot of pots are sometimes reduced to shards there, but ever so beautiful shards they are! These pieces can be just as interesting and dramatic as any pot from a 5 day firing, but without the emissions. See my piece titled ‘Damaged Goods’, as an example of this kind of fired surface.


Unglazed porcelain bowl with minor kintsugi repair.

Gathered here tonight are a representative sample of all of the different approaches to wood firing. It’s a very rich and varied field of artistic endeavour, and it’s so good to see so much great work all in one place.
Long may we continue to stoke the fires of our creative desires.

Spring is Here.

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Here we are in the first week of spring and the hot weather was very welcome, but unseasonably hot for this time of year. Just more evidence of global heating and what’s in store for us in the future?

I have given the peaches, nectarines and almonds a 2nd spray of copper Bordeaux mix to try and minimise leaf curl and shot hole fungus spores. It needs to be done once a month during the growing season. Actually, the recommendation is for every 10 days, but who has the time? And too much copper spray drift can build up in the soil and become toxic over long periods of time. So I just do the minimum.

I don’t think that I can ever eliminate it here, just keep it under control to minimise the damage. The trees don’t seem to suffer from it too much later in the season. Perhaps it has a lot to do with the cold damp nights in early spring?

Because of the warm weather. I planted out tomatoes, zucchinis and cucumber seedlings. Plus peas, beans, sweet basil, lettuce and radish seeds. Then last night we had a cracking frost. The Weather Bureau only forecast 2 degrees for Bowral, our nearest town with a weather station, and we are usually one or two degrees warmer than that. But not so last night.  However, I checked the seedlings and they are all OK in the protective cocoon of the plastic bird netting frames that cover both the orchard and vegetable garden. Lucky!

The Flanders poppies have now started to open and will be with us for the next few months. They need disturbed soil to germinate, so do best in the vegetable garden, because the soil is regularly turned over while weeding and planting. I established them in the new orchard and they did well for the first year, but as I haven’t cultivated in there since, only mown, all their seeds are lying dormant in the soil, with no new plants germinating in there.

The Cherry trees are in full bloom now as is the avocado tree. Every thing is responding to the warmth. There is so much optimism in the air now. Life is returning to all the formally dormant plants. I took a picture of the lawn behind the house. I use the term ‘lawn’ very loosely. It is actually a stretch of self sown wild grasses and weeds that we keep mown. This stretch of mown weeds has just erupted on a blue haze of tiny flowers in huge swathes. The flowers are microscopic, but there are millions of them. I tired to photograph it, but the effect on the light out there just doesn’t show up a clearly in the image. Janine tells me that it is called ’Speedwell’, but our neighbour, John Meredith used to call it ’The blue pimpernel’. What ever it is, it’s very pretty on mass.

We have just completed the last of 5 in a row, weekend workshops. Quite a busy time for us. It’s nice to have a bit of ’spare’ time now, so I’m back in the garden, just in time for spring. The asparagus is just starting to pop up, just a few at a time, here and there. The real season is still a couple of weeks off as yet, but I’m picking the biggest ones to have with our breakfast eggs.

Now that I have just a smidgen of spare time, I have mended the old wheel barrow. We bought this wheel barrow in 1976 or ’77? More or less the first year that we arrived here. We had worn out two 2nd hand ones previously. Purchasing this one was a real statement of ‘We have arrived, and we intend to cultivate this derelict place’. The bottom got rather scratched over the years and had started to rust out, becoming wafer thin and flimsy. I hate to see waste, so I stepped in and made a new base plate for the tray and fitted new bearings into the wheel hub. It’s all good for another couple of years till the next part wears out. 

Repair, re-use, re-purpose.

Nina the Gleaner, purple potatoes and okonomiyaki

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At the start of this month we had the first buds and then flowers open on the earliest peach tree. Luckily I thought to spray all the fruit trees with lime sulphur last month, as that has to be done before bud burst. I really need to get in there and finish the winter pruning. I have done all the peaches and cherry trees in the veggie garden netted area.

June for spraying lime sulphur, July for pruning, August to start spraying copper (Bordeaux) for leaf curl fungus. Winter is a busy time when nothing is happening!  

There is a lot of work in being low impact, organic, nature friendly and carbon neutral. I haven’t had any spare time to do any composting around the fruit trees so far. So I will give them a hand full of chicken manure and some dolomite and wood ashes this time round. All of the chicken run scratch litter and manure mix has been going around the almonds trees so far this year. With only 4 chooks, there isn’t a lot to go round and with over 60 fruit and nut trees to manage, I buy a few bags of dynamic lifter composted chicken manure pellets, so as to give every tree a bit of a boost. They all get a good dose of wood ash in sequence throughout the winter, as we clean out the ashes from the various wood stoves and burn piles.

The wheel barrow has a garbage tin full of wood ash, a bag of composted chook pooh pellets and a bag of dolomite. I work my way about the orchard spreading the goodness around the drip line.

Janine harvested our Purple Congo potatoes, I caught her down gleaning the last of them from the southern end of the garden, just before I got stuck in and weeded and tilled it over, then covered it in compost to put it to bed to fallow until spring.

When we were in Germany a decade ago, we stayed with an extended family of potters who had gleaning rights with a local farmer, a concession that had been going on for generations I believe.

We spent a day helping them glean a paddock that had been harvested of its potatoes, but there were lots of undersized or slightly damaged ones that were there for the picking. 

I remember seeing a Van Gogh painting of ‘The Potato Gleaners’, and there we were in Germany engaging in this very ancient practice.  I really enjoyed it, fore-stalling waste. I wrote about it at the time on my blog. Gleaning is a very ancient right. It was established in France in the 1500’s and protected by the constitution. Today, I suppose that the equivalent would be dumpster diving? No need for either of us here to dumpster dive, because we have developed this positive, creative, environmentally friendly lifestyle. We grow all of our own green food, vegetables and fruit. 

It’s a lot of work, but very rewarding when I get to look at what I’ve achieved after a day of work in the garden. The effort gives me a lot of pleasure, even though I have all the aches and strains from the work, but then I think of all the loads of vegetables flowing to us over the year, and there is always a bit of excess to share with our neighbours. Planting seeds is such a positive, hopeful and uplifting act of rebellion. 

Broad beans, garlic and brassicas are all growing well, and planted in series to ensure a continuous supply of some sort of food throughout the seasons.

Now in mid winter, there are plenty of cabbages, cauliflowers, broccoli and brussel sprouts. One delicious option for us is to make okonomiyaki. The Japanese traditional cabbage pancake. We are not au fait with all things Japanese, but I have a keen interest in the culture and I have visited many times to study ceramics there. Okonomiyaki is a quick and easy meal that uses cabbage in a different and interesting way.

I’m told that okonomiyaki is literally translated as ‘you choose what you want’. Yaki means cooked or burnt as in pottery being yaki, or fired, and there is the character for ‘no’, which means ‘of’ stuck in the middle, so maybe ‘oko’ and ‘mi’ are to do with you and choose?

I take it to mean that I’m cooking a cabbage pancake and you can choose to add whatever you want to go in the mix. But it’s always cabbage, egg and pork!

The Koreans have a similar traditional cabbage pancake made with kinchi pickled cabbage, ‘panjun’ (sp) not too sure about the true pronunciation or the spelling there, but it tastes delicious no matter how you spell it..

Although there are minor differences throughout Japan from north to south, okonomiyaki remains pretty much the same everywhere. I’ve had it in Mashiko to the north of Tokyo and also in Arita in Kyushu in the far south. I first tasted it in Imbe in 1986, more or less smack in between. Always delicious and very recognisable. 

Apparently within Japan there is hot debate between various cities such as Osaka and Kyoto, as to who makes the better and most ‘authentic’ okonomiyaki. As an outsider, I have no opinion on the matter. I love them all.

My Japanese friend has suggested to me that it should be made with grated Japanese mountain potato starch, to get the best texture, but as that isn’t readily available here, that I have been able to find. She told me that I can mix in a small % of tapioca starch to give the mix a creamy texture. 

I tried Japanese kuzu powder and corn flour, but that made the pancake too sticky and glutinous. My okonomiyaki is an Australian multi-cultural work in progress. The home grown organic cabbage is really the high light, freshly picked and snappy crisp, it’s great. I’ve tried different varieties of cabbage, the best ones are the light and slightly curly types like savoy. Dense cabbages like red cabbage need to be par-boiled to soften them beforehand otherwise they are still a bit tough and chewy after the quick light cooking of the pancake.

The traditional recipe calls for a thin slice of pork and then an egg cracked over the top towards the end of cooking. I have plenty of fresh eggs, but not always fresh, thinly sliced pork. However, I can usually find some Italian style, dried, salted and lightly smoked, thin slices of pork in the deli shop. That makes a suitable substitute. No self-respecting Japanese person would recognise the mess that I end up serving, but it tastes OK, it’s fresh and it’s healthy. Ne!

It’s been an honour, joy and privilege to have had the pleasure of managing and curating these 7 acres, along with Janine for the past 48 years. I am so lucky to live and work in such a great place.

Clay making and tatami floor tea room

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We have been having some good cleansing frosts this last week or so. White and crunchy, this is good to clean out any remnants of fruit fly in the orchard. It also helps to set the chemical clock in the stone fruit trees that need a few hours of very cold weather to make the next seasons flowers fertile. This is called their ‘low chill hours’.

Inside, it’s been a busy time, as usual here. Janine is back from her trip up north, and I have been cleaning out the loft area above the clay making and rock crusher rooms. There is a space up there that is sort of a loft, but it was never intended to be a useful space. Just a way of enclosing the noise and dust from clay making and rock crushing in the small ground floor rooms. The space above them just had ’stuff’ stored up there. Mostly left over insulation bats and silver paper sisalation. Plus half a dozen mixed sheets and off-cuts of thin bracing ply wood, that I had used for the ceilings of the throwing room and gallery.

The only access to this ‘loft’ area was, until recently, by bringing in a ladder. A while ago the idea crossed my mind that we could use it as a place where students could sleep over when they stayed to do wood firings. 

In the past, before the fire, they used to pitch tents in the orchard, or stay in local bnbs. Sometimes, even sleeping in their cars.

We recently built a stair case to get up there safely. Using a lot of scrap timber, heavy duty ply, and our own home grown and milled pine boards that we had left over and stored. It turned out really well and cost next to nothing. I built it in two days with assistance of Janine’s brother John, a retired carpenter. I couldn’t have done it alone. John was the brains and I only assisted.

So while Janine was away I began cleaning it out and used the left over rockwool to insulate the ceiling/roof and then panel it with the ply wood. Amazingly, I didn’t have to buy anything to do the job. I was able to do it all by using what was already stacked up there! Even down to the box of ’TEK’ screws.

I started by building a safety railing/balustrade along the edge, using some off cuts of poly carbonate from the car port wall. 

Stuffing the rockwool into the roof was a bit like easing a compliant orangutang into the roof cavity, all soft and fury.

I used old tomato stakes from the garden to act as the extra several pairs of hands needed to hold up the ply wood, while I got the first few roofing screws into the sheets to secure them in place.

We were gifted the tatami mats from a lovely friend who didn’t need them anymore. They work really well in our new loft space. Both as a tea room space and as a place where students can choose to sleep, if needed.

We have also installed 2 single beds up there as well, on the other side.

A couple of years ago, I bought an old Venco pug mill from my friend John Edye, who has retired from making now. I cleaned it of aluminium corrosion and painted the inside with metal primer. I have use it for 2 years now and this week, I pulled it down, and cleaned it out to change clay bodies, and inspect the lining.

I was so happy to see that the wire brushing and priming that I had done previously was holding very well indeed. Nothing needed doing. So I put it all back together again and made a new batch of wood firing clay body for an up-coming workshop.

Clay making is a dusty business. I wear some OH&S clothing to minimise the dust in my hair and on my clothes. There are probably expensive versions of this stuff, but I use a garbage bag with holes cut out for my head and arms, then a theatre hair net and a standard dust mask. I have an exhaust fan with a flexible ’snorkel’ that hovers over the mixer and sucks most of the airborne dust out of the room. It works

After all the clay has been twice pugged, bagged and stored. We move all the machines out of the way and mop the floor clean, before reinstating everything as it was before and ready to go again.

Winter Weekend Workshops

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The ‘Pop-Up’ Open Studio sale is over and everything in the pottery has been put back to rights again. 

I can now think about when we can do the winter workshops.

This year has becoming somewhat shortened and a little bit complicated, by the pop-up, and the fact that we have been invited to work in Korea later in the year, possibly in September, or maybe October. We don’t have a set date as yet. So we can’t plan to hold any workshops much past August.

Weekend Workshops;

1/  Wood Kiln Throwing and Firing.

We are offering a combined 3 weekend workshop. 5 Days.

Throwing for wood firing, July 20/21 followed by a wood firing, Includes 15 kg of my specially formulated, home made wood firing clay.

Firing, 3rd/4th August. 

Unpacking Sunday 11th August.  $700. includes clay

The 2 week gap gives a couple of weeks to dry the pots, bisque and glaze them ready to return for the packing and firing weekend.

Pack the kiln. Saturday 3rd, then fire overnight into Sunday 

Unpack the kiln on Sunday 11th August.

If these dates fill, we may offer another weekend later on in the year? But timing is tight until we get fixed dates for the kiln building workshop in Korea.

2/ Sericite Porcelain Workshop

We are offering a weekend of throwing and turning fine porcelain. 

Throwing and turning fine white translucent sericite porcelain August 24/25th. $350 includes 15kgs of amazing white translucent sericite. Sorry FULL! It filled over night!

I have started a waiting list for the weekend of 27th/28th July for a second workshop.

I have 20 bags (15kg bags, enough to run 2 workshops) of a sensational, white firing and very translucent, single stone sericite paste body that has been in my barn since before the 2019 fire and COVID. Now with 6 years of age on it, it’s in very good condition, and throwing beautifully. 

Luckily, this clay was not stored in the old pottery, otherwise it would have been burnt like all the rest of my aged sericite stash, some of it was over a decade old at the time of the fire. Lucky also that this clay was in the part of the barn that didn’t burn. Such a fluke.

We are so lucky to have some of this aged fine clay available to us to share. 

3/ Introduction to glazes and glazing. Saturday 10th August. $125

A one day basic course on glazes and glazing techniques for beginners. Not too much theory, just half a day, then half a day of practical techniques. Glaze theory and chemistry can be very tiring, so I am limiting it to just half the day, followed by some practical techniques.

This is a one day workshop to keep it tight and manageable, if you are new to glazes and glazing. A good intro for a beginner.

Introducing the glaze raw materials, why we choose them, how we weight them and mix them, and then how we apply them.

4/ Introduction to clay bodies. Sunday 18th August. $125

A one day basic course on clay materials and clay body formulation for beginners. Not too much theory, just half a day, then half a day of practical clay testing techniques. Theory and chemistry can be very tiring, so I am limiting it to just half the day, followed by some practical techniques.

5/ Introduction to kilns, materials and firing schedules. Sunday 1st Sept. $125

A one day basic course on kilns, and firing for beginners. This course is all theory. So we will be breaking it up with coffee breaks and a look at at some different kinds of kilns and fuels, and their uses. We have several electric, gas and wood fired kilns here to examine and get to know. 

If you are interested in any of these weekend workshops. Please email me and I’ll send you more details. <hotnsticky@ozemail.com.au>

First in best dressed. Enrolment is only secured after payment is made. 

Sorry! but this is the only way that I can make sure of the numbers that is fair to everyone.

Tea bowl exhibition in Seoul, Korea

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I currently have one of my bowls in a tea bowl exhibition in Seoul, South Korea.

This bowl was fired at the front of my wood fired kiln. During the firing the ash glaze ran just a little bit too much and stuck the bowl to one of its pieces of wadding. Luckily, I was able to chip it off without breaking the bowl. I repaired the damage using the ancient Japanese technique of ‘kintsugi’, using gold to repair precious pieces of ceramic.

Using pure gold to repair a damaged pot shows respect for the item. It honours the piece by giving it time and resources, and finally finishing it off with a coating of pure gold. By showing it respect, I choose to give it a greater value than it would have had, if it had come out of the kiln intact.

The pot is damaged, but it is still beautiful. It has Value, and it is Unique. It is Honoured even though it is Damaged. It’s possible that repairing a damaged thing can make it more beautiful and precious than if it hadn’t been through its ordeal.

I see these damaged and repaired objects as self portraits. I went through an ordeal and although I was damaged, and am not the same, I am still working. I’d like the think that I’m also improved by the experience, although I’m not too sure about that. My pots that I repair are certainly more beautiful, interesting and valued.

Open Studio Sale this weekend

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On the Long Weekend I will be opening our Gallery for the ‘Pop-Up’ Open Studio Arts Trail.

I have been hard at it making new work for this show. I have been making some very fine and thinly potted bowls decorated with the motif of “From Flames to Flowers’. This is a motif that i developed without knowing last year after undergoing some remarkable EMDR trauma therapy. 

One week I was painting flames on my pots, the sorts of images that had been haunting my dreams since the fire, then the next week, after just a few sessions of EMDR, the flames had morphed into flowers. To be truthful. I had made a concerted effort to plant patches and strips of English cottage garden beds around the garden and driveway since the fire to try and make the place a bit more cheery and less blackened. I really needed cheering up, having been burnt out 3 times in 50 years.

I really like the motif, so I am still using it. It still cheers me up. It’s optimistic and positive. I have added a little bit of gold lustre to give it a bit of ‘bling’ as well.  I have been using some lovely translucent sericite porcelain, so that when I hold the pots up to the light, I can see the painting on the out side of the bowl from the inside, not just the outline of the image, but even the colours of the flowers. They are pretty special to me.

The other work that I have been doing is black and white sgraffito graphic decoration, again mostly on porcelain, but I have also made some stoneware mugs. They are still in the kiln as I type. They’ll still be warm on Saturday morning, coming straight from the kiln.

The motif for this series are the cherry trees in our Chekhov orchard, and the blue/black bowerbirds that come and steal our fruit. The Cherry Thief. The subject is as old as gardening itself. I remember that William Morris designed some wall paper back in the 1880’s called ‘the strawberry thief’. This new work of mine is totally unrelated in Character, and very different, but the subject is exactly the same.

I call the series, ‘Plant it and they will come’. And they do come.

When we came here 48 years ago. There were hardly any birds here, just a few kookaburras. As we developed the gardens and orchards, dug dams, made compost heaps and planted native shrubs, we created habitat, and they came!  Suddenly we had to start thinking of how we might cover our fruit trees and vegetable beds from the marauders! 

Within a few years, we had hundreds of birds living here, working the rich environment, with dams for water, open spaces to forage in, trees and shrubs for cover, and fruit to eat. We created this oasis and they occupied the territory. We planted it and they came!

I will be open from Saturday to Monday over the long weekend, from 9 to 5 each day. Please call in if you are in the area.

I have plenty of off-street parking, tea, coffee and cake, toilet facilities, and we are wheel chair friendly. There will even be a glass of wine in the afternoons.

Pop-Up, Arts Trail, Open Studios

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I will be opening our studio gallery on the long weekend in June for the ‘Pop-Up’, Open Studios Arts Trail. 

The 8th, 9th and 10th of June.

See Arts Trail Map attached below; I am Studio Number 1 on the map.

popupmap_2024_pressart_lres-2Download

I have been making some completely new work for this years Winter ’Pop-up’ Open Studio, Arts Trail.

I have plates, dishes, beakers and bowls all decorated with the theme of –

‘Plant it and they will come’.

Kiln Firing in Korea

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Janine and I are recently returned from Korea where we were invited to take part in the Mungyeong Ceramics Festival, where I delivered a paper to the ceramics conference there about low impact wood firing.

My paper concentrated on my research into small down draught fire box design, intended to minimise smoke and pollution as much as possible. I also presented my current work on afterburners and scrubbers to try to minimise particulate pollution from our kiln chimneys.

I believe that these topics will become more important over time as Global Heating and carbon in the atmosphere starts to become obvious and difficult to ignore. Even to conservatives.

My paper was well received and I got some good interrogation during the question time afterwards. My book ‘Laid Back Wood Firing’ was  translated into Korean about 5 years ago and has been available there for some time, so some people there had read it and were up to speed with the concept.

Janine and I will be returning to Korea later in the year to build one of my small Bourry Box kilns as a demonstration of how it can work. It will be built alongside several older traditional wood fired kilns. They are interested to compare the smoke from our firing and also the fired results afterward with that from the traditional kilns.

The most recently built, traditional, multi-chamber kiln was fired while we were there. It smoked all the way through the firing. I’m pretty sure that we can do better!

Its a really beautiful kiln to look at, and is constructed using the very old method of using cone shaped hand made ‘bricks’.

The cones were all made on site by the students/residents in the ceramic research centre at the Yanggu Porcelain Village.

The use of cone shapes allows for a rather nice dome shaped top or 3D arch over each of the fire box and 4 chambers.

The freshly built kiln took just 24 hours for it’s first firing – all 4 chambers to stoneware, absolutely no technology was use. No pyrometers or cones, just an experienced firing crew and home made draw trials of glazed tiles pulled at 30 minute intervals after orange heat.

This kiln was so new, it was still wet, and steam was coming out of all the cracks all the way to top temperature.

Side stoking is always a dirty business. Hard to get around that. It’s the nature of the beast.

That is why I have chosen to build a single chamber bourry box fired kiln as the demo model.

It will be a larger sized chamber, so I have designed it with 2 fireboxes side by side.

Only time will tell if it works the way I intend and if it impresses them.

When you are in Seoul and the air quality is rated as ‘fair’, but you can only see for 1 km through the smog. I makes you think about what a bad day might be like. Smoke from wood firing is not the big problem in the scheme of things.

But every little bit counts.

Two Sericite Porcelain Workshops completed

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We have just completed the 2nd of our sericite porcelain workshops.  They both went well and everyone seemed to get something out of it.

We advertised it as intermediate to advanced level, and everyone was suitably skilled to be able to handle the slightly more complex and difficult advanced techniques.

We were aiming to teach those advanced techniques, and everyone was keen to extend their skills.

The weather has cooled down a lot recently, so we had to light the stove to get the air a bit warmer in the studio over night to speed up the drying process. At the end of the first days throwing. I lit the fire and kept it going until after 10pm with the ceiling fan running all night. With this combination of warm air and moving air , we managed to get nearly all the pots dry enough to start turning on Sunday morning.

As my contribution to our shared lunchtime meals. I cooked a couple of tarts to be shared for our lunches. 

I made one savory home grown spinach and cheese tart from our garden with 3 cheeses. Ricotta, for the main filling with finely diced fetta for a little bit of texture, then some gorgonzola for a little of that tangy flavour that it imparts.

The other tart was sweet for after lunch, and made from our home grown and preserved quinces in an almond frangipane base.

Both made in blind baked puff pastry casings. They dissapeared pretty quickly. It’s a very good feeling to be able to share our preserved summer garden goodness and excess with others.

During the week inbetween the workshops, I continued to make and fire my sgraffito porcelain pieces that I have been working on for a while. 

It’s good to see more of them coming out of the kiln now, all shiny and transparent with the images of the bowerbirds stealing our cherries from the Chekov orchard.

I will be taking part in the ‘Pop-Up’ Southern Highlands Arts Trail Open Studios sale on the long weekend of 8th, 9th and 10th of June. Save the date!.