More Meat Than I’ve Ever Eaten

I’ve just come to realise that the whole time that I was in China, I seemed to be eating meat 3 times a day. I usually only eat meat occasionally. However, as I think back, every meal seemed to have some sort of meat involved in some way. Even breakfast. I never eat meat for breakfast! But over in China the wantons in the soup or the steamed buns all seemed to have a little bit of meat in them. I must say that I enjoyed it immensely too. The food was great. I didn’t go out of my way to eat meat at every meal, it just seemed to be the way that it was. I just went along with what was on the table.

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Now I’ve been home for a moth I decide to have a leg of pork for dinner. I get it boned, rolled and tied by the butcher. He also scores the skin for me. It takes a very sharp blade to do this and he is used to it, so I let him do it. I only tried once and was surprised how tough it was. none of my knives in the kitchen are kept in such a sharp condition, especially at the tip.

I make up a paste of garlic, bay leaves, pepper, some coriander seeds and a little salt. I pound all this together in one of our home made , wood fired, hand thrown mortar and pestles and crush it and grind it into a sort of paste. It needs a little bit of olive oil to get it to all flow in together. This paste is used to smear over the surface of the rolled roast before baking. It goes into a slow over for a very long time.

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It stays cooking slowly for a few hours in the wood stove. As we are out working all day in the pottery, kiln shed, wood shed and garden. There are always more jobs to get done than there is time to do them. So we do what we can and let the rest just migrate to the bottom of the list and then fall off the end almost without noticing. But I do notice. I should just let them go, in true Buddhist style, but their ghost just lingers on in the back of my mind, as I sum up the day and try to let it all fade away with my out-breath, I “press the recline buttons down with dreamland coming on”. Of all the various activities that go into making up a life, most are just mundane, some tedious, lots repetitive, but it’s those few moments that are special that give a little sense of satisfaction, an achievement, that I remember. They are the glue that holds it all together. Picking fresh vegetables from the garden for a dinner like this is nothing special, we’ve done it almost everyday for 40 years, but it is always a pleasure and it is part of todays glue.

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We are getting frosts most mornings these days. Only light frost, perhaps -1oC, I don’t know, but it is enough to kill everything that is sensitive, but not not so cold as to make its way down to the ‘Pantry Field’ garden. Down there in that secluded spot, where there is plenty of tree cover, we have a small plot of 60 sq. metres of fenced off garden, where we have found that we can grow a lot of frost sensitive plants , like over-winter potatoes and they are doing well, even the nasturtiums are still blooming. I found some time, just before a wood fired raku workshop, to get down there and do some more weeding, so as to give the plants a chance. The weeds grow so quickly! The peas are flowering now and so are the broad beans. I think that we will soon get a feed of peas from these plants. The garlic is very varied, some plants are surging ahead, while others have stayed quite small. Perhaps this is their individual habits. I have planted seven new varieties of ‘seed’ garlic this year. All down in the pantry field, where we haven’t ever grown garlic previously. fresh varieties in fresh soil. The last two plaits of garlic hanging in the kitchen ceiling are now a bit withered and starting to ‘shoot’ , but still have a good garlic flavour. They aren’t so juicy any more.

I guess that it is because the weather is cold and the days short. I seem to want to eat more meat these few weeks, so I buy a few lamb shanks and make a nice rich sauce for them to simmer in. Brown onions in olive oil, a whole knob of our garlic and lots of herbs from the garden. I brown the shanks and then add a whole bottle of merlot and let it simmer very slowly over a low fire for a couple of hours with half a tub of my marrow bone stock concentrate.

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When we come back into the kitchen in the evening dusk. I open the door into the kitchen and the room immerses me, seduces me, envelops me, in a blanket of warmth and flavoursome aromas. Such a wonderful, warm, welcoming greeting. the light is fading. the wind is picking up, the temperature is falling, but we are warm and secure in here, in our own self-reliant environment. I add the fresh picked vegetables that we have brought in from the garden and let them mellow in to the stock, while we discuss the day and plan for tomorrow. I open a nice bottle of red wine and serve. Fantastic!
Cold weather outside? Who cares! Roll on, the winter.
Best wishes
from the EOFY stock maker and his stock-take girl

Delivering a Kiln, What Could Possibly Go Wrong?

A Kiln Delivery, What Could Possibly Go Wrong?
I have just finished another kiln for a customer. It’s a beautiful thing. There isn’t anyone capable of making anything like this in Australia any more. All the skills are gone. We are a country of importers of cheap junk these days. Everyone wants something for next to nothing, or even cheaper. This may sound rather jaundiced, but how else do you explain the rampant rise of Bunnings and Ikea, and all the other Chinese import companies. Power tools for $12 each, of course they are not going to last more than 10 minutes.
Note to self – don’t buy cheap plastic junk! I try and buy only things that I really need, and if I really do need it. I try to buy something of quality, that will last a very long time. I don’t throw things out until they are really worn out, and then I try to recycle them into something else if I can. Finally, if it is really organic and wholesome. There is always the compost heap or the metal recyclers if it isn’t?
This kiln is not just beautiful. It’s solid and gorgeous. I’m very proud of it. I spent a lot of time on it. It will last its owner for all of her life and then someone else’s as well.
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I do a lot of organising before I set out to deliver a kiln. If the site is close enough, I go there and check out the site myself, but if it is a long way off. I usually do all the organising by email. Images sent back and forth of driveways nd other access points. Measurements of gates and shed doors height and widths etc. I try to think of everything, but there is always some sort of surprise in store for me. You never know who will turn up to “help”! See ‘The Best Laid Plans’ posted on this blog on the 18th of March this year.
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We get started early. I use my friend Dave who has a big truck with a ‘Palfinger’ crane. He is a real gentleman and takes such a lot of care with everything that he does. I really trust him completely in matters of lifting heavy things. I shrink-wrap and load the kiln onto my truck the day before and then drive it up to the drive way near the road, where Dave’s big truck can get to, to lift it off my little truck and onto his, for the long trip to its new home.
Because we are so efficient, we arrive at the site a bit early and manage to reverse in through the narrow gates, then down to a spot quite close to the garden shed, where the kiln will be housed. The clients are there to greet us, as is the local tradesman who they have engaged to help us. The kiln comes off the truck and across the lawn and into the doorway of the shed without a hitch. Dave can manoeuvre the crane with a tonne hanging from it at a 13 metre distance to within 1 cm! It’s always astonishing tot me how much accuracy he has developed with this machine over the 30 years that he has been doing it. This is how it is all supposed to be. everything considered. However, you can never really know what the local drunk and the crazy neighbour will do when push come to shove. On this occasion, they are nowhere to be seen and everything goes as it should. Dave lowers the kiln across the lawn and down onto the kiln shed slab. He is so professional, carefull and accurate with that crane. The kiln is lowered down directly onto the pallet lifter in the shed, so that I can wheel the kiln into position without a hitch.
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We install the flue kit and seal the roof and we are all done. Everything sweet and precise, all done without a hitch. This is how it is supposed to be. What could possibly have gone wrong?
I’m home early and have time to do a bit of weeding in the garden, then a clean-up in the kiln shed ready for the next wood firing workshop.
Everything as it should be.
I’m gratefull!
So completely different from the last time.
Best wishes
Steve

10 Million Shards

We are up bright and early and out into the street. We are foraging for breakfast. There are any number of street food vendors plus a few cafe style shop fronts open for our custom. We’ve had a gut-full of intestines for now. We are thinking of steamed buns, but this morning there doesn’t seem to be too many about. We take a walk through the local market, that is down a lane and along a walk way which opens up into a covered market in behind the main street. You wouldn’t know that it is there except for the stream of people and motor scooters that are coming and going along the narrow path simultaneously. It looks like total chaos in there, but is just the normal too-ing and fro-ing of humanity. We realise that we just have to push in and shove our way through, just like everyone else. No-one seems to have the Western concept, that we were brought up with, of taking your turn. it just doesn’t happen like that here. People aren’t being rude. it’s just the way that everyone gets about when there is a crush, and there always seems to be a bit of a crush.

thumb_DSC00561_1024The market is amazing and wonderful, everyone here has been up before sparrow-fart to get all this produce dug, washed and cleaned and laid out here for our delectation. The pigs have been slaughtered and their bits are all here for us to examine, all steaming-fresh and quivering-warm.
The vegetables are almost still growing, they haven’t realised that they are out of the ground yet.
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Something that I hadn’t noticed before was that most of the fish are still alive and swimming in their paddling pool ponds. An aquarium air pump is feeding bubbles to some of them that need to be aerated. The carp don’t seem to need it.
There are bags of toads and live, dressed or cooked ducks, all there together. The ducks are so sweet. I loved my ducks. Always found it hard to wring their necks, but there is no room for sentiment when your survival is on the line. Buying your meat on a plastic bag is a cop out! If you aren’t prepared to see the life drain out of an animal that you have killed with your own hands. Then you don’t have any right to eat meat. toughen up! get over it!. If you aren’t up to it. Become a vegetarian, but don’t live in denial. This is just straight faced honesty. Not nice, difficult, but real.
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We find our breakfast out on the street as always, we have some sort of bread bun crossed with flat bread. very nice, filled with garlic tops and green onions, with sesame seed on the outside. Then some wantons in a clear broth of MSG, chilli oil and soy. After our breakfast we return to the Village Square and start our negotiations with the local drivers with cars to rent. Out driver from yesterday isn’t available today. All the cars for rent are parked around the village monument at the village centre crossroads, even though there are only 3 roads. It’s a village ‘Y’ road, or 3 ways! the monument celebrates the 12 brave tractor drivers who saved the harvest, or the never ending struggle of the the great helmsman! What ever, We try with all our skills to negotiate an arrangement where by we will be driven around all day and returned here afterwards for a set price. Its not the exact amount that is of concern to me. I can agree or decline any offer. It’s more about knowing what the cost will be and having an agreement that we can all respect and live up to with no surprises or unexpected increases.
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We are soon off to the little secluded valley where all the oil spot and hares fur bowls that were ever made in the Southern tradition were potted. There must have been many millions of them. If you think that a potter might drop  or otherwise ‘loose’ a pot every now and then. Dropping a pot or chipping the rim. Perhaps the setting melted in the kiln because of over-firing? If the losses were 1% of the turn-over, even if they were 5%. It’s hard to conceive of the mass of broken pots and saggars that litter this site of many hectares. Even to the depth of several metres. They must have made many millions of pots here, because they left behind many millions of shards!
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This little valley has been cultivated over 40 centuries to make a flat level centre, contoured to get a steady flow of water across the terraces for irrigation in the growing period and flood mitigation in the wettest part of the year. This area of China, although a long way inland, is still influenced by the monsoon. We are here in this wettest part of the year. We have to get kitted out in our wet weather gear. The valley is surrounded with low wooded hills. We can make out at least 5 sites around the valley edge that have been extensively worked over by looters over many years. As far back as 1930, an American academic was here to do research and the sites were already well and truly dug over by the locals, who are mining the site, extracting what-ever they can to sell to subsidise their meagre living as peasant farmers. When my colleague was last here in November doing research. It was a clear fine day and the sites were covered with locals mining deep into the spoil heaps of shards, some digging down to 3 or 4 metres, all looking for some little gem to sell off at the markets.
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I walk along the road boundary of the lower edge of the the largest site and start to make a plot of the layout in a very general sense. Just so that I can mentally frame my boundaries, then I start to make a visual survey up one edge of the site. Its not possible to walk straight up the slope. One, it is too wet and slippery, and two, the site is so heavily excavated that I’m forced to zig zag along the high spots in the shard piles avoiding the craters. the ‘workers’ aren’t here today, as it is too wet, but all their paraphernalia is left jotted about the slope. Their woven baskets and plastic bags, including their empty plastic drink bottles and cigarette packets. No one seems to have a lot of respect for the site.
The ‘natural’ base here is sticky red clay, it ‘clags’ to my boots and is very slippery. with an incline of about 1 in 4. I have to be really careful not to slip and fall again. I have already taken one slippery fall and damaged my arm trying to protect myself.
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There is no part of the site left undisturbed, so there is no stratification to identify. It’s all in turmoil, and there are some really deep pits that have been excavated to get down to the bottom (early?) layers. I can’t tell. it’s all been dug over so thoroughly that I think that they are now digging through previous rejects, that were not thought to be saleable years ago when the market only wanted intact pots that were slightly damaged, then it was almost whole pots. Now that these gems are all gone, the site is being worked over again to extract large pieces of bowls that are more or less complete on one side. It appears that finding bowls that are melted into their saggar during firing is the prime objective these days. Since the introduction of cheap Chinese manufactured diamond-faced ceramic cutting discs, it is now possible to grind away the saggar to reveal most of the bowl intact. This is something that was not previously possible with just a hammer and chisel.
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As I traverse the site I get a ‘feel’ for what was made here over the period. There are no significant bowls left here, but there are surely 10 million small pieces of broken shards. The terrain underfoot is solid with broken saggars, tenmoku and red clay. Presumably the clay that these bowls were made from? These people were peasant potters, part farmers, part potters. They were very isolated. It was a long walk carrying two woven baskets slung on a pole over your shoulder to move anything from A to B, along the walking path that led along the stream and up into the valley. They wouldn’t have moved cheap raw materials like clay very far. The kilns would have been built up on the non-arable slopes, land unusable for cropping and closer to the firewood source. We collect a small sample of the clay for analysis and photograph any ‘interesting’ shards that come to light and I plod along, bent face-down, staring intently at the small fragments, filtering all the visual information looking for ‘pattern’ and building up an idea of the product that was created here over the millennia.
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What I’m seeing is a preponderance of brown to black hares fur glaze, with tinges of blue and green where it is thicker and has pooled towards the base. It was applied very thinly and is particularly runny. Hence the only partial application of the glaze on the outside, well up from the foot to allow for running. This kind of glaze smacks of high lime content and low amphoterics. In any ‘normal’ circumstances the high iron content would be the amphoteric, but in this case the glaze and body have been well reduced, so all the iron has become a flux. From the fractured pieces of shards that I examine, I’m getting a picture of an early period of oxidation, lasting well into the firing, thus causing the typical boiling of the glaze, followed by intense reduction, causing the running. The body is dark and sandy textured to rough, through to very rough and examination of the fresh fracture surface is very revealing and quite interesting.
We discover something that has not been previously described in the literature, at least not in English. It will sweeten Leo’s PhD and possibly secure his degree?
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There is a lot to take in and so much to learn. This will take a while to decipher. For the time being I’m fully occupied in photographing everything that I think might be interesting to reflect back on later.
Best wishes
Steve

Carving Out a Living

While our pots are drying, we go on an expedition to visit a few of the local potteries in the area. This whole city is dedicated to the making of porcelain. there are thousands, if not 10’s of thousands of small workshops all over the city. We go to one of the nearby potters districts. We have come in this direction because there is a potter here that we want to meet. I am travelling with a PhD student from The ANU in Canberra and his interest is in tenmoku. The potter we have come to visit is the local Master of the Northern ‘Leaf’ Tenmoku Style, which they call ‘temu’ around here.

The original dark glazed and buff bodied Northern tenmoku bowls were first made by potters in the Tianmu mountains in Northern China and were used by the buddhist Monks in the near-by monastery for drinking green tea. Monks who came to this monastery left with a knowledge of Buddhism and also a penchant for the drinking of green tea. They also took away the distinctively shaped bowls with the out-turned lip and tiny foot that is the defining character of this style. the ’Tenmoku’ form. The name ‘tenmoku’ seems to be applied to just the dark glaze these days, but it is really the name of this particular shape of bowl. Such that you can have a white tenmoku, or a blue tenmoku, even a hare’s fur tenmoku, because it has a glaze that is a little reminiscent of the fur of the local wild Hare.
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This potter, Master Liu, has dedicated his life to the study of ‘leaf’ tenmoku. a very ancient variant of the form. He seems to be doing quite well for himself these days. He has assistants working in and around the studio. He has his own large gas kiln and a few electric kilns. The show room is new and 5 stories high and quite well appointed, a new two story house, all set in a little ‘muse’, just off the main street. The technique of ‘leaf’ tenmoku is one where a leaf from a particular tree or bush is placed on the surface of the flat black glaze and when fired, the leaf burns out and leaves only a few microns of ash which in this case, contains some special elements that colour the black glaze, so that the imprint of the original leaf can be seen in the glaze surface as a silver or golden ‘X-Ray’ style outline of its radial structure. I ask if any leaf will do and am told, “No, only the leaves of one very special plant will give the effect”. But that’s all I’m told.
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He has taken the old technique to another level, where he can reproduce the effect so reliably that he cuts the leaves into the shape of various animals or even peoples profiles. It’s an acquired taste, but certainly skilful. Clever as hell. Gulley Jimson might say.
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Later, we visit a bunch of local big-pot throwers. Today they are not throwing, but turning their dried, thrown sections of very large planters. It is just an amazing sight to watch these young masters at work. They are just incredible. They make it all look just so simple, and it probably is, if you are born to it and spend all your life involved with it and practising..
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After assembly, they are either carved or painted, then raw glazed. Apparently it takes a week to carve or paint one of these giants with such fine detailed work. Some are just blue on White, while others are polychrome.
Amazing technique!
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After this, there is nowhere else to go, nothing more to see that can top this schwarzenegger-esque extravaganza. I’m exhausted just watching! The amount of material that is churned off in the turning is prodigious. there is a business right there in just collecting all those huge piles of turnings and recycling them, back into clean, iron free, plastic porcelain clay again. We take paradise…..
All that’s left is to have dinner. Egg and tomato stir fry and finely sliced large white radish stir fried with some sort of meat and chilli.

So very nice. Delicious!
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Best wishes
Steve in Jingdezhen

Note to self: Don’t buy plastic crap

Now that the weather is closing in, it’s a lot cooler and the days are shorter, and for some unknown reason, it keeps on raining. We have gone from bush fire protection and hazard reduction, to digging drainage ditches. Fortunately we have missed the flooding that is happening just now up the north coast and in Queensland. I suppose that it helps that we live on top of a high ridge of hills. We are very well-drained here.

One good thing about constant rain, is that we don’t have to be worried about bush fires or bother to water the garden, but that time saved is now spent in unclogging drains and cleaning gutters and downpipe sieves.
Some years ago, I thought that I’d save some time and buy a plastic gutter sieve/storm water head thing. What a piece of short-term rubbish that turned out to be. I should have known better. Actually, I do know better, but I’m lazy. I just gave in and bought the easy option. I’ve learnt my lesson – yet again. Now just a couple of years later, it’s all cracked and broken and has become an embarrassing piece of plastic junk, destined for land-fill.
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Last week we were at the monthly meeting of the Royal Society. This month’s lecture was from Professor Richard Banati  about the fact that plastic never really decomposes, it just breaks down into smaller and smaller pieces and traces of it can be found in all life forms where it is ingested along with other food, it builds up in the higher order species and all of it is destined to end up in the top predator. Guess who that is?
Here is a reprint of the Royal Society promo.
“The talk by Professor Richard Banati from ANSTO and Sydney University Faculty of Health Sciences. Plastics in our environment.
 
Estimates suggest that the planet could have another 33 billion tonnes of plastic by 2050. 33 billion tonnes of plastic is equivalent to filling 2.75 billion garbage trucks enough to wrap around our planet 800 times if lined up end to end.
 
Scientists estimate that more than 250,000 tonnes of large size plastic litter the ocean surface, this does not take into account  the micro plastics which are  plastic fragments derived from the breakdown of larger plastic debris, both at sea and on land. Over time, a culmination of physical, biological and chemical processes can reduce the structural integrity of plastic debris, resulting in fragmentation of  2-3 mm in length and 0.1mm in diameter.
 
The whole issue of product life cycle analysis has so far focused on the litter aspect and not the contamination that cannot be seen without studying at the atomic scale.
 
Richard and his team at ANSTO are collaborating with scientists from Monash University and University of Tasmania and studying whether the trace elements typically found in plastic and  in the stomach of birds, these trace elements are also found in the growth of young bird feathers like the annual rings in trees, thus indicating the effects of degrading plastics in the food chain may affect birds, marine animals as well as humans.        
 
This is an important chapter of how we deal with plastic waste as hazardous, threatening the health of people and wildlife.?
 
Professor Banati said that the only way out of this mess is to stop producing the stuff. Not too likely I don’t suppose. We are all addicted to the stuff through our ignorance, indifference and/or laziness.
Anyway, I try not to buy too much plastic crap, but I’m only human and I am lazy with it too, so now I have the job of fixing this broken plastic gutter fitting. It’s all cracked and the collar is broken off, it’s dead. It’s going to land fill. My only real option is to replace it. But not with another plastic one, not again! I decide to use some of our left over off-cuts of kiln building material that I am so reluctant to take to the metal recyclers, just in case I can find another useful life for the little bits here and there, around the place. It doesn’t take long and I find just the right piece of off-cut stainless steel sheet. I adapt my idea in my mind at the concept level and change the dimensions of what I was imagining, to suit what I have. I sketch it out in chalk on the welding bench. I re-design it to use all of what I have with no loss through cutting, then I go searching for some other little bits of stainless sheet off-cuts to make the sides.
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An hour later I have a rather nice stainless steel rain water head with a 45 degrees diagonal stainless steel leaf-sieve clipped on and ready to go up on the roof. It’s rather rough, but a joy to behold for me, because it is waste forestalled and made entirely out of scrap destined to go to the recyclers, except that it has now been re-imagined and re-purposed into something that will last longer than me or the building that it is now attached to.
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I’m no plumber, but this doesn’t have to hold water, just redirect it. I think that it will actually work OK. I don’t have any plumbing training, but I do have a little bit of imagination, some determination and a desire to subvert the system.
Now all I have to do is make a duplicate to replace the one next to it, for when it breaks. Which can’t be too far off?
But then, I’m still stuck with plastic plumbing pipe.
Note to self, don’t buy plastic crap – if there is an alternative.
Nothing lasts, nothing is ever finished and nothing is perfect.
and this could not be more true when applied to plastic roof and gutter fittings.
Best wishes
Steve the lead-free plumber who is trying to reduce his dependance on plastic.
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Dr. Steve Harrison PhD. MA (Hons)
hotnsticky@ozemail.com.au

blog; tonightmyfingerssmellofgarlic.com

http://www.wattersgallery.com/artists/HARRISON/Harrison.html

Potter, kiln surgeon, clay doctor, wood butcher and Post Modern Peasant.



Play is the Best Part of Work

Our New Small Wood Fired Kiln

There is an amazing potter in Switzerland called Stefan Jakob, who specialises in raku firing. <http://www.raku.ch>

He has been to Australia a few times. He is the inventor of the IKEA garbage tin raku kiln. It is a really impressive little kiln that is cheap, compact and very efficient of wood fuel. It fires raku really well and is such great fun.  It is such a great idea that I wish that I had thought of it:)

We organise wood firing weekend workshops here through the winter months and some of them are for wood fired raku. However, Janine uses these little wood fired kilns to do her earthenware glaze firings.

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Stefan worked with us here on a few occasions on his visits and he gave us one of his kilns each time he stayed. Having seen them work, it got me thinking that there might be another way of thinking about small efficient, portable, wood fired kilns. The only drawback to his fantastic idea is that the internal size of the garbage can is quite small and limited. So I decided to build a slightly larger size version of his concept. I made one lined in ceramic fibre like his original, but square and about 5 times larger in volume, so that we could fire larger and taller pots for the potters who come here for our raku weekend workshops.  Now I have just finished a couple of slightly larger square ones lined in light weight refractory insulating bricks. The great advantage of custom building the stainless steel box is that it can be whatever size and shape you think you might want.

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Because this RI brick version is a little too heavy to lift and carry around like the garbage can kilns, I made this one in a custom-built stainless steel box on a galvanised RHS steel tube frame and lockable castor wheels. It has all the same advantages of the smaller fibre lined garbage tin kilns in that it is great fun, portable, very quick to fire, very efficient of the wood fuel and being top loading it is very safe, quick and easy to load and unload for raku.

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I’m always busy. The kiln factory is full with a large gas-fired, front loading kiln, a relocatable top loading gas kiln with an extension ring and two of the new small wood fired raku kilns.

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We had our first firing in it the other day, just to test it out and it worked really well.  Just 45 minutes up to 1100oC from cold, and then a 15 to 20 minute turn around for the raku. We used such a small amount of fuel, fallen branches/brush wood from the garden. Our big gum trees are alway dropping dead branches around the yard, so it was just 5 minutes work to collect enough for the firing.

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This kiln sailed up to temperature so easily that I think it will be no trouble to take it up to 1200oC mid-fire and even stoneware in the future – when I get a bit more time.

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This is about half of the amount of fuel that was used to get to 1100oC

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I don’t propose that it will give any wood fired effects in such a short firing time, but it will melt glazes perfectly well. I did some research on one of my locally collected milled stone glazes a while back and I tried firing my little test kiln to stoneware in just 30 minutes with a 10 minute soak. I was able to do 6 firings to stoneware in one day and learnt a lot. If I kept a close eye on the temperature and used test rings to gauge the melting, I was able to get some lovely, soft looking, satiny matt glazes. So it is possible.

With so little at stake in a small kiln and the firing being so quick and easy, there is nothing to loose and everything to gain.  But more than that, it’s important to me to be able to make my ideas come to life and experiment with different concepts in my own way and in my own time. Play is the best part of work.

Home Made Chainsaw Saw Mill

Over the past few weeks I have had over 500 hits on my article on self reliance including a little bit about milling my own timber. So I thought that seeing there is so much interest in building a home made saw mill attachment for a chain saw, I ought to put up a post with some more detailed explanation, including a few dimensions and some images to help explain what I did.

It’s pretty basic unit made out of scrap steel sections that I just happened to have laying about on the day, but it works really well for what I need it to do and that is to turn logs that are too good to burn, into usable milled planks. I haven’t studied this kind of gadget at all. This is my first attempt at building one. It seems to work OK, so i haven’t got around to making another one or changing it. If I was to, I would perhaps add a bit of rubber tube over the upright centre handle, just for comfort.

Since I moved here, I have built my own house and pottery building. We made all our own floor boards and made all the windows and french doors. I also made all of the kitchen furniture to go into it, chairs, tables stools etc.

All you seem to need is a few basic tools, an inquisitive mind, some perseverance and a bit of spare time to figure things out. The saw is an old (15 years) Husqvarna  371 60 cc. and the milling bar is about 900 mm. long. The effective cut is about 600 mm.

So here are a few pictures with measurements chalked onto the bench.

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A Sudden Outbreak of Normality

We are just back from Canberra, it’s late afternoon and it’s straight into the garden to see what there is to pick. We’ve been away for 5 days. It has been raining a lot of the time we have been away. The rain gauge has 32 mm in it and there are puddles on the road coming in. It’s the end of the warm weather now and I manage to pick a full basket full of small red and yellow tomatoes. This will be the last picking large enough to fill a boiler and make tomato passata. From now on we will only be able to get a few each day, enough for one meal at a time.

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There is a sudden outbreak of normality, and we find ourselves back at work and play simultaneously.
Nina lights the wood stove to make some hot water and I start to wash and prepare the tomatoes for sauce. There is still some sweet basil lingering on in the garden. I have been keeping it well tip pruned to keep it from flowering. this seems to prolong its productive life right up until it gets so cold that it just drops all its leaves and dies. A huge bunch of sweet basil goes in with a bit of thyme and a chilli, olive oil and onions. In a few months time we will be opening these jars of passata and remembering the summer as we savour the sweet, acid, piquant flavour of the tomatoes in the passata. Each 10 litre boiler reduces down to about 3 or 4 jars of passata after boiling, sieving through the moulii and re-heating and reducing the volume to concentrate the flavours.
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We have to get cracking, we have a kiln ordered and several weekend woodfiring workshops coming up. We unpack the kiln that we fired before we left and get out all our new hand made kiln door bricks, which have fired very well. As the whole side of this kiln is the door, it makes it all a lot easier on my back, knees and neck, to be able to pack most of the pots without having to get inside the kiln, now that I’m starting to feel my age.

I clean out the firebox and check all the new brickwork and bracing for cracks and then clean all the props and shelves, ready for the re-packing for the workshop.

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All our wood firing enthusiasts arrive and we pack the kiln and get it on in the early afternoon. With lots of helpers rolling out the little balls of wadding, it all goes smoothly and quickly.
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We light up and fire the kiln over-night and into Sunday. There seems to be a ritual developing of cooking marshmallows over the hot firebox on Sunday morning to cap off breakfast. I don’t know where it started, but it seems to be becoming a regular event.
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On the Monday, as the kiln cools, I start welding up the metal work for the kiln that I have ordered, now that I have the pottery kiln shed to myself again.
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In the evening I start to make a big batch of roasted marrowbone stock. I fill 2 of our 10 litre boilers with the roasted bones and a mirepoix of garden vegetables and herbs. Over the next two evenings,
I end up reducing the 20 litres of initial stock down to just 500 mls of luscious concentrated jelly. The addition of a bottle of red wine helps fill out the flavours. It goes into the fridge and I take a spoonful of it when I need it instead of buying stock cubes.
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Firm, jelly-like consistency, intense flavour.
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One night we have a dinner of pan fried capsicums with garlic, olive oil, tomato and basil. The next night it is a lot cooler, so the Mademoiselle makes the first minestrone of the season, using our kohlrabi, cabbage and leeks from the garden and our dried beens that we shelled a few nights earlier, with our friend Elizabeth, sitting on the lounge watching the idiot box.
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Carrots, celery, leeks. A great base for the minestrone and also for the stock mirepoix.
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I use the other half of the cabbage to make a kiln builders lunch of okonomiyaki, Japanese style cabbage pan cakes. But on this occasion, without any flour, just held together with a few local organic eggs that we got from our friend Marg, who runs a certified organic garden. I add some saffron milk-cap mushroom from the garden. The first of the season for these mushrooms. I also add some of our pickled ginger and a few of our sun-dried tomatoes in oil. It’s not Kosher Japanese. Just the idea and influence of Japan. We use what we have at hand from the garden and our preserves from the pantry. It reminds us of our Japanese friends and the good times we’ve had together..
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Best wishes
from the Oka Nomiyaki and his Mini Strone

The Axeman Cometh, but Lucie Takes the Cake

It’s the season for music festivals. Starting with the Goulburn Blues fest, then the Illawarra folk fest. then comes Womad and Port Fairy, which are followed the next weekend with the Blue Mountains Blues and Roots Fest and culminates with the National Folk Fest over the long Easter Weekend for 5 days. It’s a tough life, but someone has to live it. We drove the 2 hours down to Canberra and camped in the back of our van for the 5 days. This year we caught a few interesting performers. There were many, but I can only write about a few.
I particularly liked Lucie Thorne.
I didn’t know what to expect, but straight off. It’s not what I’m not expecting. If I have any preconceptions at all, this isn’t it. Just going on her bio in the program and what I see on stage before she begins. She starts off slow and quiet, and then continues like that. She beguiles us, she lulls us, she woos us and cajoles us, she casts her magic, slowly, we are enveloped in her spell. She coaxes us along with her, we share a small part of her life. The part that she’ll let us see and will sing about. She presents us with her vulnerabilities, her angst, her wishes and dreams. What more could you want? This is both tender, intimate and brutally honest. I’m in.
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She plays an electric guitar, hollow body with an  arch top. But I don’t know anything about guitars. She plays without a pick, with just her fingers, but not folk pattern style, just her own idiosyncratic, sort of erratic, but not, style, guided by the narrative, she emotes through her fingers and the amplified guitar, but Oh! So gently. She has a soft, breathy, low, almost spoken lyric style. Her own voice, her own style. An absolute original talent.
She is backed by a very sensitive drummer, Hamish Stuart, who plays to her strengths and is so minimal that he just fills in the gaps in the music enhancing, and supporting, but never over shadowing her. A great combo. <http://www.luciethorne.com>
This union of low-key elements and understated passion reminds me of the later music of Chris Whitely,
<http://en.wikipedia.org/wiki/Chris_Whitley> The ‘Hotel Vast Horizon’ period. The same breathy vocal style, the minimal guitar, the restrained in-fill drumming. But where-as Chris Whitely was the guitar ‘AxeMan’ in his younger days, she is, in comparison, the young female guitar ‘cake-splade’, softer, gentler, less damaged, more refined, but just as emotive. I say less damaged, but when we caught her performance, it was first thing in the morning. It must have been a very late night for her previously. She looked a bit ragged. I’d never heard of her previously, but now I will keep a look our for her.
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After I saw Chris Whitely burst onto the scene doing his ‘Living with the Law‘ tour early on. I kept an eye out for his tours. He could make his old 1940’s timber resonator guitar talk. Lightning fingers, but as the heroin took its toll over the years, he developed a more abridged and concentrated minimal style. Moving from Robert Johnson to minimalist jazz influences. I saw him half a dozen times and bought 12 albums, before he died, tragically young. I hope she does a lot better.
A Thoroughly enjoyable hour of my life, well spent. I buy 2 of her CD’s direct from her. After the show, we chat. Up close, she is just as I imagined and described. Gentle and vulnerable, but tough. Quite direct and honest when we ask questions. Very genuinely appreciative when we buy the CD’s.
The very last show of the night for us oldies, is the 11.00 to 12.00 slot. It all continues on till after 3 in the morning, but we aren’t up for that. We need our sleep. We are staying up for a couple of old blues men. I haven’t heard of these two blokes either. They are in Canberra at this time because they have just spent 3 days in the National Sound Archive, having their repertoire recorded for the National Estate, so they must be interesting. They are Frank Povah and Chris Cruise. They grew in the country but moved into Darlinghurst/Kings Cross in Sydney in their youth to play in jug bands, then blues bands. They look to be in their late 70’s now and have a few miles on the clock. They were exceptionally good. These guys really knew their stuff. Not always my stuff, but so well done. A repertoire from the 20’s, 30’s and 40’s, acoustic country blues. Wooden music. I’m really glad that I stayed up for it.
It’s a great pity that they didn’t have a CD for sale. Exceptional musicians.
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Another musician that we saw at ‘The National’ was Tift Merritt. She sings her soft rock songs with a slight hint of Country and Western. I think that it’s the lap, or peddle steel guitar backing that gives it that feel. I’ve never been particularly taken by either style, country or western, but she carries it off very well. Beautifully musical and easy listening with some very hummable melodies and memorable riffs. Most enjoyable.
Best wishes
from DJ Nina and her base accompaniment

The April Fools New Firing

I’m awake before dawn. There isn’t even a hint of light through the place where I know the window is. It’s drizzling or raining lightly, because I can hear the drip of the rain on our bedrooms’ tin roof. I reach for my phone in the dark, it’s just 6 minutes before the alarm is due to go off. How do we do this? What sort of clock do we have in our heads that can measure by dead reckoning to within 6 minutes over 8 hours. If I tell myself to wake up at a certain early hour, I usually do it. I just don’t know how. I trained my self when I was a teenager, to wake up every two hours through the night, when I was firing my first gas fired kilns, so that I could turn the gas up, to get a steady temperature rise. That knack has stayed with me it seems.

I walk down to the pottery shed in the pitch dark. No stars tonight. Total cloud cover with some light drizzle. No need for a torch. I’ve walked this path so many times in my life. I know the way by heart. I turn at the corner of the orchard fence. I can’t see it, but I know that it’s there. I know that I’m in the shed now and reach for the light switch and suddenly, It’s all real instead of imagined.

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The kiln is packed and was preheated last night. The wood is all split and stacked neatly along the far wall. Everything is ready. I light the match and the kindling crackles into life. I love the smell of the fresh cut and split wood, the smell of the smoke as the fire is slow to catch. I’ve learnt to light a small fire in the base of the chimney to get the chimney hotter quickly to establish the draught. It’s been a few months since I last fired this kiln and the chimney is cold and damp. It has sat idle over the hottest months of the summer, waiting for this day. The first day of Autumn and the official end to the fire bans. We waste no time in getting going. This is the start of the kiln firing season.

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I have spent the last few days cutting, splitting and stacking the wood for these firings. Then carting and re-stacking the logs in the kiln shed. We have had a very wet summer, so we could probably have done a few firings on the wettest days, but I was fully busy making and installing kilns for other potters over the summer. I had plenty of orders, so I sold my soul for the mighty dollar. Paid work has been a bit thin on the ground these last few years, because of the closure of the art schools.

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Because of all this wet weather, the wood is still pretty wet inside. It hasn’t dried out much over the summer. So now I have a shed full of wood that won’t get any wetter and will start to dry out a lot faster now that it is under cover. I really need an open walled wood shed over near the wood pile site, where I can safely store the split wood to allow it to season without risk of fire danger to the house or pottery. I was given about 60 or 70 tonnes of logs last year, 8 or 9 tip-truck loads. Enough wood for quite a few years. It all came from a building site in a near-by village.

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Splitting wood can become quite boring over several hours. I manage to roll a few logs onto my shins during the day. I’m already wearing hard boots, ear muffs, face shield and gloves. It seems that I’ll now have to go out and get some shin-pads as well.

During the dull moments, I worked out that I had cut and split over 500 pieces of wood by the end of the day, then picked them up and stacked them onto the trailer, then unloaded them and re-stacked them in the kiln shed. That’s 1500 wood movements. No wonder that I’m feeling old.

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We have spent a few days in the pottery throwing some of the fresh new porcelain stone bodies that I made over the summer months. It’s throwing quite well for something that is principally ground rock paste, with an addition of around 15% of plastic clay. It really has made a big difference to the workability. Now it throws more like fresh ricotta rather than wet putty.

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We have a few tests of these new bodies in this firing. We also have the back of the kiln filled with our latest batch of home-made firebricks. These are all larger size blocks 230mm x 150mm x 150mm.

I will use them as door blocks. As the door of this current kiln is quite wide. Using larger blocks will make for faster door bricking-up. I am already using quite a few of these large blocks in the door, but not enough to fill the entire door. After this firing I will have enough and a few spares.

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As the firing progresses into high temperatures, There isn’t a lot to do. While I wait between stokes. I sit and shell dried radish seeds. liberating them from their sticky pods. It takes an inordinately long time to do. It is so very fiddly and tedious. I’m a fool. I don’t know why I don’t just go to the shop and buy a packet of seeds. Well, actually I do know. I want to be a self reliant fool. These are seeds that I have grown and dried myself. They are mine and true to type. They are not hybridised or treated with poisonous anti-fungal treatments. Home-grown, organic and clean. The stuff of real life.

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It’s a great big new experiment. A new firebox, new wood, new fire brick load, new porcelain bodies and new-season radish seeds.

Best wishes from A Pair April Fools