No Rest in Paradise

The hot weather is here now and we are out in the garden early to get the jobs done before the heat sets in. We’ve had some 30 oC+ days recently. we pick cherries and the early peaches, and lucky that we did as a thunderstorm comes through in the afternoon. All dry thunder at first but then it breaks, and boy does it break. We are pelted with hail stones that pile up on the lawn and against fences and wall. the rain floods in over the verandah. We are safe inside the house, but there are some new leaks in our old 123 year old roof. I’ll have to get up there again tomorrow and see what I can do, but not now.

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can see the leaves being shredded from the trees in the garden. I can only imagine what is happening to the tomatoes and other soft vegetables in the garden. The chooks will be OK. They will be hiding in their house, very scarred I’m sure, but physically OK. It’s a good thing that we harvested the two boxes of early peaches this morning!

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In the evening we sit and peel peaches for preserving, shelling dried peas and milling dried broad beans down into broad bean flour to make falafel. I also grind down some of last years sun-dried corn niblets into polenta flour. There is always something to do. I might even find some time to watch the idiot box if there were anything on, but there isn’t. So I don’t. The pressure is off on this new big kiln, as the work is well under way and back on schedule, as I have a new welder.

We have delivered all our work for the Xmas shows in the Sydney Galleries as our open studio weekends are over. The tea pot sets are taped up and ready for packing up for delivery. We exhibit our joint domestic wares as King and Co. This is to separate this work from my tea bowls that I show in my own name at Watters Gallery. The opening at Watters went well and I seem to have sold 4 out of the 8  ‘kintsugi’ gold repaired bowls that I took in for the show.

I have found time again to practice my Cello. Its been locked in its case for some time now. We also find some time each morning to work over the garden beds before it gets too hot. We get them planted out with new seeds for the summer. This should have been done a month or two ago, but we have only now just found the time. I haven’t had any spare time since I got busy in August, followed by my research trip to Korea and so on.

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We have harvested the garlic and onions to make room in some of the garden beds. The garlic is a bit disappointing this year, but the onions are fantastic. They have all done well, red, white and brown.

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They all need to be spread out and dried, before plaiting and hanging.
I stole this little piece of text below from one of Janine’s emails to one of our friends. Speaking of our chooks and the garden. I think that it sums up our time here just now.

Our ‘spice girls’ who we realise only come to us because there might be food for them. Otherwise they scour our block and so do we (looking for them) so cunning Mr Fox doesn’t have them for dinner.
Thankfully the days are a little cooler, for a little while. Summer is no longer my favourite season. But cherries and peaches are sweet, ripe and we eat our way through the ones we save from the birds – with all manner of nets, wires pegs and stalking.
There is no rest in paradise!

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It’s time to have some more different sorts of fun. Roll on summer!

Death in Furnace

All Good Things Come to an End.

I’ve been busy in the kiln factory during the week in-between our open studio weekends and then every day since. I have a big electric kiln ordered and although I have done a lot of prep on it, I was away in Korea for a while and then doing several weekend woodfiring workshops as soon as I got back, so now I have to start welding all the accumulated parts together.

I take a bit of pride in making all the parts here on site. I make all my own small fittings including door locks, handles and hinges, all made out of basic metal stock sections. Some of these parts need to be turned down on the lathe and machined to a pressed fit. This is an electric kiln, so it is all made out of aluminium, marine aluminium. This is because marine aluminium offers the best resistance to corrosion. Just the sort of chemical attack that electric kilns get from the fumes released during firing. I’ve been developing these designs for forty years, slowly improving them as I learn more from my experiences.
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Aluminium is best welded using a technique called TIG. TIG welding is a type of welding that is ideally suited to welding aluminium. In fact, you can weld almost any metal with a TIG welder. ‘TIG’ stands for Tungsten Inert Gas. It uses a very high temperature tungsten electrode to pass the current into the metal. This electrode is not consumed in the process, as it is in all other types of welding. This is different. The electrode is very thin and pointed, so that the electrical current can be focussed onto a very small specific area of the job at hand. This part of the job gets very hot and starts to melt. A thin filler rod is then pushed into the weld pool of molten metal with the other hand, a droplet of molten metal melts off the end of the filler rod and merges into the surface, filling the crevice between the two pieces of metal that are to be joined. This is repeated over and over to build up a small mound in that exact spot. The electrode is them moved a very small distance, a few millimetres, and the sequence is repeated. The finished weld looks like a series of droplets, all overlapping and lined up all in a row. It’s a very beautiful, but slow and precise way to weld. Aluminium is notoriously hard to weld with any other method.
TIG maybe slow, but the welds a really nice. I wouldn’t win any prizes for my welding. I don’t do enough of it to get really good at it. After-all, I am a potter. But I make sure to weld both sides of the joint to make sure that I have 100% perfect penetration. So far, I’ve never had a crack in any of my welds in the past 30 years.
The thing that I find amazing about metal work is that all the left-over off-cuts can be re-welded back together to make new long lengths of material and these are stronger than the original section. It really appeals to my sense of purpose in living a frugal life, as well a supporting my philosophy of re-cycling and throwing nothing away until it really is worn out or useless.
If you cut a piece of wood by mistake, that is too short, then you have two short pieces of wood that don’t fit any where. You have to wait for an opportunity to use them somewhere else as two short pieces. However with metal, you just weld them back together – and they are longer and stronger!
I also find the act of joining very symbolic and reassuring. In an age of dislocation and separation, revolt and conflict, civil war and displacement. This act of imagining things in a different way, choosing the path of joining and strengthening, reusing and conserving, creating things out of what other people might consider waste. These are immensely important and powerful acts. To see this potential, then to act on it. It builds instead of destroying, it re-purposes instead of just endlessly consuming.  It creates instead of wasting. This is the world that I want to live in, so I’m building my own world, in my own way. One weld at a time. One pot at a time. One garden bed at a time. One thought at a time.
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Aluminium is a little bit tricky to weld. It’s slow work, as aluminium moves a lot with heat. You have to pre-heat it and be carefull to stop it warping out of shape. I put a bit of effort into it, to get good penetration, yet not too hot, so as to prevent warping. Working with aluminium involves a lot of setting-up, clamping and tacking, then some time-out, to allow the frame to cool down again before laying down more welds.
The cooling time allows me a short time in the garden for some quick weeding or watering. On the way back to the kiln shed, I feed any snails that I have collected to the chooks. They are omnivores and eat snails as well as green grass. The first thing that they do in the morning when I open the hen house door, is to rush out and start to eat green leaves of grass. But when one of them finds a snail hidden, in down next to a stone, or fence post. It’s off and running with the bounty. They all fight over it until one of them wins the prize it’s a highlight of their day.
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Meanwhile, back in the kiln shed, I discover to my horror that during the process of welding this kiln, my beautiful old welding power source is starting to loose its brains. Bit by bit, some of its capacities start to disappear.  It looses its ‘down-slope’ and ‘crater-fill’  functions first. I’m not mentally prepared to loose this old friend so suddenly. We’ve been working together for the past 20 years and I’m very fond of it. I know its character and how it likes to do things the best. To get the best result.
It was the absolute in cutting edge technology in its day, all solid state, power-tranistor based, AC/DC, inverter, pulse, TIG. I know that this last sentence will sound like a foreign language to most people – and it is. It’s techno-speak for welders. Just think of it as a description where every added word and each comma, costs an extra thousand dollars! This machine cost me as much as my car did back then. Effing expensive. But the car is long gone. I still have the welding plant.
As it slowly looses its functions, hour by hour, I’m left in the afternoon with something that isn’t what it used to be. It only just functions at a very basic level. Solid state alzheimers. I’m reminded of 2001, A Space Odesy, when Dave slowly unscrews HAL’s circuit boards, until it can only sing ‘Daisy, Daisy’.
My welder is reduced to this incontinent, dribbling, unrecognisable state of simplicity by the afternoon. So this is how old welders end up! I can only think of this being me in a few more years. I nurse it along as best I can. There is nothing in the instruction book of welders, or life, to help me out here. Just patience and gentle care, and I do care! I do what I can, but there isn’t really anything to be done. I take it easy on the poor old thing, resting it between welds, but the end comes.
Finally the light goes out.
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I am very sad to see it go. No more Join of Arc! Twenty years on, the new models do not create any better welds than this machine. They just come with a few extra bells and solid-state whistles. Thankfully these new ones are now only a fraction of the cost.
The new machines aren’t the same. They’re small, fast and noisy.
We’ll have to spend a bit of time together to work things out and get used to each other.
Best wishes
Steve

The Art of Embracing Damage

We live in an age of instant access to information and news, except that it’s all mostly bad. I’ve stopped watching the news. It’s all too depressing. I don’t want to be ‘connected’ to this. I want my interactions to be quiet, peaceful and positive. I want to choose a constructive, creative, engagement with my environment and the people around me.

I have spent my life developing a philosophy of minimal consumption and self-reliance. I believe in not buying anything that I don’t need and not throwing anything away that isn’t fully worn out. This has been part of an exploration of how it might be possible to live frugally and gently in a faster, noisier and bigger world of seemingly senseless and excessive consumerism.

My Partner Janine King and I work in isolation, making only what pleases us. This is not good business practice, but we don’t think of ourselves as being in business. We are trying to live an independent creative life, that is sensitive to our surroundings, gentle on the earth, low-carbon and low-impact on others around us. We are attempting to live this life of small monetary rewards, but high satisfaction and so far it seems to be working out OK for us.

I work with the raw materials that I can find around me in my immediate locality and then research and test them, to attempt to discover what interesting qualities they exhibit and then try to make original ‘location-specific’ works from them. I find this approach most fascinating and very rewarding. I have discovered a single-stone native porcelain, and developed a body from it that is very beautiful, especially when wood fired. I have also found and developed a single-stone, washed basalt gravel, blackware body that is gorgeous. These two special materials are the result of a lifetimes research. Not much to show for a life, but I continue to create these Senseless Acts of Beauty, because it pleases me. I am under no illusions. I know that I could not have lived this quality of life without Janine as my partner to help me achieve it, but most importantly, we have been very lucky to have lived this simple, artistic life in Australia, where there has been no civil unrest.

It has been my intension during my career to make simple, elegant, and hopefully beautiful bowls. These bowls have been significantly influenced by Japanese and Chinese aesthetics as well as the  Japanese culture of tea and Zen Buddhism  I’m not a Buddhist. But some of the thinking around Zen practice has influenced my quest to live a simple, non-consumerist, low-carbon life. When I was studying the origins of single-stone porcelain in Japan recently. I did a course in Kintsugi. The Japanese art of repairing broken pottery with lacquer and pure gold. I have started to repair some of my more interesting failures using this technique.

Kintsugi embodies three Buddhist concepts and makes them tangible. The first is ‘wabi-sabi’. Realising that something that is flawed and imperfect can still be extraordinarily beautiful  The second is ‘mushin’, the concept of non-attachment and acceptance of change. Nothing is perfect, nothing lasts and nothing is ever finished. The last is ‘mono no aware’, a certain wistfulness at the impermanence of things. We are only here for such a short time together. Our transience is a reality of our life. Embrace the moment as it is.

I feel that when I repair a beautiful pot that is broken, damaged or otherwise ‘non-perfect’ in a Western, conservative sense, I make it all the more beautiful. Spending time recovering and enhancing something that is otherwise lost, is a sign of great respect for that object. It fits well with my philosophy of minimal-consumption, self-reliance and making things last as long as possible.

Because kintsugi has been called the art of embracing damage, it occurred to me that these, recovered bowls might be a suitable and beautiful metaphor for recovery from conflict. Hence my offering them for inclusion in this up-coming end-of-year show at Watters Gallery called ‘war’.

I have very few ambitions in life. When I was young I decided that I would live in the country and to grow my own food, to make a creative life of some sort, build my own house, and live a self-reliant life. I have more-or-less fulfilled all of these modest ambitions.  My lasting ambition is to make things that are meaningful, simple and modest. I go about this work of creating random acts of beauty without any regard to the effect that it may have on others. I am selfish, but not thoughtless.

Our indigenous peoples have a long tradition of respectful collecting, gathering and hunting. I feel that my small experiments interacting with the natural world, collecting stones to grind up to make my pots are compatible as a contemporary continuation/interpretation of this ancient practice. It respects place and biota. It’s 40 years since I moved to this small Village in the Southern Highlands south of Sydney. I’m pretty self-contained here. I don’t want for a lot, so I have everything that I need and I am grateful for that.

My bowls are small, simple gestures. They appear to be empty, but are in fact full of good wishes and calm, thoughtful intent.

The exhibition ‘War’ at Watters Gallery opens on Wednesday 23rd of November.

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Open Studio Sale

I’m up at the crack of dawn. I told myself to wake up at the first sign of light at the window last night . I realise that I’m awake and look to the window and there is the light starting to show through the edges of the curtain. I’m up and showered, dressed and out in the car just on 6 am. I want  to get all the pottery open-day signs up at the village and along the road. I start on the main road, just opposite the level crossing into the village. I’m not attempting to snag any unsuspecting passing weekend travellers out here in the middle of no-where. People who are on a mission to somewhere else. No! That takes more signs than this and more warning time. If I were aiming to get the attention of random passing weekender traffic, I’d start the signs way back at the previous village, kilometres back, and put up several signs all along the way. Warning that there are only 5kms to go to the pottery, then 3 and 2 and 1. Then Finally, turn here for pottery at the crossing. But not today.
We are open as part of the Southern Highlands Arts Festival, Open Studios, Arts Trail. There has been plenty of advertising in all the usual forms. So today I am only aiming to direct the people who are looking for us using the excellent fold out map that has been widely distributed  both in hard copy and electronically. This is a case of courtesy directions. I still have a lot to do today. We are never really completely ready for these things. There is always so much to do, we could easily go on for weeks cleaning up. We live in a kind of organised chaos, where we plan lots of things and make lists. We even make lists of the lists. But then something happens and we have to change plans to fix the problem. Everything else slips off the list until this urgent thing, whatever it is, gets done. We kind of lurch from crisis to crisis in a semi-ordered fashion.
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We are still sorting the last few boxes of pots and final pricing when the first of the early visitors arrive. I still have a few pots that need to have their bases ground, a few more things to sort out. I flip a piece of filter cloth over the pile of boxes and welcome our guests. The weekend has started. We are busy all day with only a couple of short breaks when there is no one in the pottery. A time to try and snatch some lunch, but then another car arrives. We manage to get to eat our lunch in stages, taking turns. It’s pretty constantly busy. Last year was our best year ever on the Arts Trail. It was the tenth year. This 11th year is shaping up pretty well so far. I notice that the ‘kintsugi’ pots repaired with gold are pretty popular. Possibly because they are the same price and all the others, even though they sport a bit of bling. They are repaired ‘2nds’ after-all, Pots that have been repaired and upgraded or enhanced back to a 1st grade status through a lot of time, effort and skill. Plus the addition of real 24 carat gold! So it’s hard to charge more for them, even though they represent a lot of extra work.
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I’ve noticed over the years that my better pieces, which tend to be more expensive, don’t sell very well from here at the studio. This is how galleries earn their living. It’s their job to know people with fine taste and specific knowledge about certain works. Some of these aesthetes are also well healed, so can afford to have developed fine taste. Others go without food to pay for their art ‘habit’. It takes all kinds. So this pottery open studio sale is just that. A chance to get to look inside a working potters studio and see what we make and how we do it. I spend a bit of time throughout the day showing visitors around the workshop and kiln shed. Explaining the processes that we use and how it differs from the norm. I have a serried rank of rock crushers and grinders, culminating in a large ball mill and drying bed area. This is necessary, because all my exhibition work is made, not from clay, like all other potters, but from ground up stones, gravels and ashes that I collect locally and process on site here. Added to this that all our work is wood fired. It gives the work a particular look and feel.
What we make isn’t unique, but it does have a particular character.
After all, they are just bowls, cups and plates!

Open Studio

The Southern highlands Arts Festival is upon us, and so are the Open Studio Weekends  are starting this next weekend of the 5th and 6th of November and followed on the next weekend of the 12th and 13th.
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We have the kiln unpacked and re-packed and ready to fire in 5 days. This is only possible because I had all the pots made and bisque fired before I left to go to do my research in Korea. All we have to do now is glaze them and make sure that they are well dried before packing them into the kiln. I have learnt from experience that if I pack my thick felspathic glazes wet. They can just fall off from the outside of the pots. Especially from the underside of bowls.
It has been too hot and dry to fire for the past 2 days, so today has been forecast to be overcast and showery. I wake at 4.00am, just like clockwork. I amaze myself that  I can do this, but it just happens. I read an article in ‘NewScientist’ magazine recently about our brains ability to track time accurately, even when supposedly asleep. The article maintained that only part of our brain sleeps. A lot of it stays well awake, and is a very good time-keeper. I know this as a fact for me and my brain, but I can’t speak for others. I thought that I had taught myself to do this as an art student. Waking up every two hours to turn up the gas pressure on the kiln. I could wake up just a minute or two before the alarm went off. I didn’t like the alarm, so I taught myself to pre-empt it by a minute or so to avoid its harsh reality. Apparently, I’m not at all special. Loads of people can do this with no effort. It’s apparently quite normal. Ho-hum! There goes my last claim to be able to do something ‘special’.
We have the wood all cut and dried, up in the wood shed, we have all the pots bisque fired and stacked in the pottery. All the stones have been ground up and powdered. All the ashes have been dry sieved and bagged. All the glazes are made up and tested. Nothing can go wrong now!
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 The firing proceeds well, very well. Just as it ought to after 48 years of learning. Starting in the quiet at 4.00 am and firing through into the night. I like the quiet of the very early morning. I can get a few minor things done while I’m confined here, once the kindling stage is over and I start to put big logs into the main firebox. I can steal a few minutes at a time to clean up my work bench and grind the bottoms of the pots that we just unpacked from the last firing. The Lovely  wakes up with the light and brings me down some breakfast and a pot of freshly plunged coffee. We have fruit salad and marmalade from the pantry to put on our toast. It’s a nice quiet time together.
In the middle of the day I’m well into the reduction cycle and using quite large, heavy logs, that can burn for 40 to 50 mins. This gives me time to do other jobs that demand a bit more attention. I decide to repair the coffee cup from the last firing that caught a falling piece of kiln brick. I spend a bit of time on it, grinding and polishing the brick fragment away to nothing, then polishing the remnants of the glazed rim back to a fine finish. I decide that since I’ve spent so much time on it. I will keep it for myself to use in the kitchen. I decide to do some Japanese inspired ‘kintsugi’ repair on it. Janine takes over while I concentrate.
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I rebuild the surface back to its original profile and then finish it with some 24 carat gold. This of course takes me several days, just a few minutes at a time, whenever I can fit it in. I do a batch of ‘less-than-perfect’ pots from the last firing. They all turn out OK. They are still ‘2nds’, but seconds that have been shown a bit of attention and care. Their ‘flawed’ surfaces turned to a thing of beauty, with some time, love and respect. Just as we do for each other. We shine when we are loved. These pots now glow in a simple honest way.
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For some reason, I can’t help but think of dentistry!

 

Best wishes
Steve

Winsome, Loose Some

We have unpacked the latest firing and it was largely good, some of it is quite good. A bit of it is very good, but as always there is the odd disaster.  I sport a winsome smile.

One single disaster was completely my fault. I made up a batch of glaze that has always been straight forward. Porcelain stone and limestone. I got distracted when someone called in and It seems that I forgot to add the limestone, so I have a bowl with what is essentially a coating of porcelain body. Not attractive.
The walls of my kiln are slowly dissolving with the build-up of wood ash. But not bad for 60 firings for home-made lightweight insulating refractories made from local bauxite!
Another casualty this firing was a piece of wall that spalled off and landed on the lip of one of my cups. I may be able to recover it with some judicious grinding and polishing. However, I ask myself if it really is worth half an hours work to make a 2nd grade mug worth $10 out of this ruin? It is quite pretty though. I may decide to spend a bit of time working on it and keep it for myself in the studio. This ‘mishap’ is not my fault, except in that I chose to build my kiln out of my own inferior, local, hand-made, fire bricks
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I usually test all new batches of glaze that we mix up, before using them on-mass. I did just this last week to test all the new batches of domestic ware glazes that we were about to use to glaze all the pots for the next firing, destined for the Southern Highlands Open Studios weekend sales. I fired the little portable wood fired kiln with test pieces and small bowls. They all worked perfectly and melted well. The colours that i get in a 2 1/2 hour firing in reduction to stoneware, cone 10, are not as clear and intense as what we get in the bigger kiln firing for 16 hours and with a much slower cooling. However the difference is only really marginal and the faster firing is just fine for domestic ware.
I photographed both sets of tests and there isn’t a whole lot of difference. There is better reduction, especially for carbon sequestration glazes, in the longer sustained reduction firing, and the granite and pegmatite celadons are richer. Funnily, the ching-bai porcelain glaze, on the right, looks pretty indistinguishable!
The tragic, sand-paper-like porcelain-stone glaze, sans limestone, was made up after this test firing, as an afterthought, so missed out on being test fired.
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We have just re-packed the kiln to fire again. This firing will have what I hope will be a new opalescent jun ash glaze. Here’s hoping! Ash is always so variable. We have to test each batch of ash and find the differences from the last batch, then alter the recipe accordingly. What is sometimes a blue opalescent glaze can quickly become a yellow crystalline glaze or a white matt. It changes from ‘nuka’ white through to transparent green glass with minor variations  of ingredients. It always requires felspar and silica to be added. Luckily, porcelain stone is largely composed of felspar and silica. I love it so much when it works!
There is something so rewarding about using the ash from the fire that cooked our dinner to make our glazes! There is something so truly organic and particularly rounded about the concept of waste-not/want-not, and self-reliance about this. Glazes like this are firmly embedded in my sense of place and my sense of self-in-place.
I couldn’t want for more – except perhaps a more reliable and richer opalescent blue?
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I pass the glaze through a fine sieve and although we have already dry sieved the ash beforehand, there is always a lot of material that refuses to pass through the fine screen. I scrape it off the mesh and put it in the large mortar and pestle. I give it a good few minutes hand grinding, until it doesn’t sound or feel gritty anymore. I know from past experience that it still will not all go through, but a lot of it will. I was lucky to see this 450 mm dia mortar and pestle in a junk shop and snapped it up. It’s a beauty! It dwarfs my Leach kick wheel.
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The kiln is bricked-up and ready to fire now. The weather is a bit warm and dry, so we decide to post-pone the firing until Thursday when a shower or two and some damp weather is forecast. This will be a much safer day to fire.
Ashes to ashes and lust to lust
Steve and Janine

Be Prepared

I realise that I’m awake and I’m not going to get back to sleep. It’s 4.00 am and we are all ready to fire the kiln today. I usually wake up at about this time on firing days. It’s a habit that I have got into. I like to start early. I love the quiet of the early morning. It’s beautiful. There is a very special time. Just a half hour, when the birds start to wake up and so does the sun in response to their chippering and calling. They have very fine senses. They are awake and calling when it is still dark. I can’t tell the difference with my old worn out eyes. but they know and call out to tell each other. They summon the sun.

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We packed the kiln yesterday and bricked up the door with our home-made fire brick blocks. It’s a big door for easy access for packing, so we needed some large blocks to speed up the door bricking-up process. Making our own firebrick is just one of the many things that we do to live this life of self-reliance. The sun was loosing its heat as drove up to the wood yard and loaded the truck with both pine and stringybark logs. We are all finished before the evening dusk falls. The truck sits in the dark and is slowly revealed this early morning as the sun comes around the curve and slowly illuminates the house and orchard in the distance.
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We have a new wood shed now, so all the pine is stacked and ready to load, dry and seasoned. Such luxury! it’s only taken us 40 years to get this small convenience built. There is always so much to do. We have lists! Even lists of lists. But ultimately, it’s a case of the squeaky wheel getting the oil. But now the time is here for a kiln wood, wood shed and it’s a beauty. We’ve had a wood shed for the house wood, particularly for the kitchen stove timber. We couldn’t function here in this self-reliant way without one. That was a very squeaky wheel and got built after only 10 years here. This masterpiece of re-cycling cost next to nothing, being made out of the old wooden tank stand and old roofing iron that we were given. It’s only taken us 40 years to get around to it!
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We are officially into the bushfire season now, so there are fire restrictions in place. Luckily for us today, it is overcast and there are showers forecast. It has just started to rain gently, but just a brief shower. I don’t even bother to cover the pine on the truck. Last night I called the fire captain to tell him that we were going to fire the kiln. It’s a polite notification. We have been here 40 years doing this with no problems so far. That is largely because we are very careful. During the spring, we pack the kiln and wait for a suitable day to fire. A day like this is excellent. Cool, overcast and with this brief shower of rain, it couldn’t be better for firing. The safest of conditions. If it were very hot and windy, we wouldn’t light the kiln. We’d just pack it and leave it full and wait for a break in the weather.
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When Janine gets up, she brings me breakfast by the kiln. We eat all our meals during the day down in the kiln shed. We get a visit from the chooks, who call in to see what going on. We fire through into the night. It’s a civilised, steady, easy firing process. With all the wood already cut, split and seasoned in advance. This prepared wood that we are burning, is work that we did months ago in preparation for this moment. To make our lives easier now. We make decisions and make preparations for the future in this way so that we can keep on working, and living this life into our older years.
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We finish the firing at night, on the same day that we started. Packing and firing the kiln is an intense couple of days. We celebrate the end of the firing with a bottle of bubbly. I cook pasta for dinner. It’s quick and simple, using all our own home-grown ingredients, preserved tomato pasta sauce, our own garlic, our dried tomatoes and dried mushrooms. It’s just like our firing, everything prepared in advance to make this moment of creation easier.
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Best wishes
from the well prepared Steve and Janine, working towards the up-coming Southern Highlands Arts Trail, Open Studio weekends. We will be open on the first two weekends of November.

Hit The Ground Running

It’s always good to be home and re-united with my 4 girls.

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I have a lot to do. Jobs that have built up while I’ve been away. I hit the ground running. We have 3 weekend workshop booked in for wood firings over the next 3 weekends. We have a lot of bisque-ware ready to be glazed for the Southern Highlands Arts Trail Open Studio Weekends that are coming up, but we can’t get access to our wood kiln until we finish all the workshops.

The effort that we put in to preparation pays off, as all the weekends go smoothly and everyone leaves with something nice to make all the effort worthwhile. And we are lucky with the weather too. It blows a gale all week, and then it settles down and we have a glorious weekend of still, sunny days.

We fire the big wood kiln overnight through the weekend, taking shifts of 4 hours and overlapping each change of personal by 2 hours, so that there is always some continuity. The nights are cold and we huddle near the firebox for warmth. This is a downdraught ‘Bourry’ style firebox, so there isn’t very much to do most of the time.

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If we stoke with big pieces of hardwood. It might take up to one hour for those logs to burn down sufficiently to allow another stoke. The kiln climbs slowly in an even, steady, reducing atmosphere.

The next weekend we have a low temperature wood firing workshop. We have half a dozen small wood fired kilns that we use throughout the day. We have 10 participants, who each bring 5 or 6 pots to fire, depending on size. We get through them all in the day, along with half a dozen wheel-barrow loads of wood.

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When the day is over, we pack away all the little kilns, except for one. I leave it out and pack it with my glaze tests for all the new batches of glazes that have made up for the next big wood firing. It will have a lot of work in there for the  ArtsTrail Open Studios Weekends. I want to make sure that I haven’t made any mistakes or poor assumptions, when making-up these glazes.

I pack the kiln in the morning and start to fire straight away. I push it along, as I have other things to do this afternoon. This little beauty breaks all previous records and cruises up the cone 10 in just 2 1/2 hours in reduction. The results are really quite good. Everything is well melted. There is no flashing in such a short firing. Nor is there very intense reduction colour, but all the colours are there – only paler than I would expect from a longer wood firing. I’m finished by lunchtime and can get on with other things.

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I even surprise my self! I didn’t know that this sort of speed was possible for a stoneware firing, and with so little effort.

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The garden is producing well, with Nina in charge in my absence, she decides to have the evening baking and makes a couple of lovely dishes. A leek pie with a little bit of sour cream and a wholemeal crust, topped with some grated tasty cheese, which is amazing, followed with a berry pie with a baked sponge topping. Served with Edmonds custard. Yum! It’s an economical, warming, dinner on a cold evening. All this garden produce is a fitting reward for all the hours of weeding and watering. However, we don’t do it to save money, but to enjoy wholesome, unpolluted, fresh food.

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Over the years, we have made decisions that have allowed us to be in control of much of our lives, but nothing is perfect, nothing is finished and nothing lasts!

Enjoy the moment.

Korean Coda

It appears that I lied. 
That wasn’t the final episode of my Korean sojourn, The Kim Chi Chronicles. It was only the penultimate instalment. There is a coda to follow the Epilogue. I got here to find that all my parcels had arrived home safely, most of them before I did. The Korean Postal Service is very fast and efficient! I now have the largest collection, if not the only collection of glazed and fired, single-stone porcelain pots in the world – as far as I know. During the coming year I will make pots out of the stones that I have shipped back here to complete my show of  ‘5 Stones’ to be held at Watters Gallery in East Sydney, next August. 
I want to have pieces that I have made on-site in all these various countries around the world, as well as pots made here in my workshop from the same materials and fired in my wood fired kiln here. These pieces will have some unglazed areas on the outside to show the effects of wood firing and surface flashing. I have already started this part of the show with the clay bodies that I have shipped back from earlier trips. There only remains the 2 places from this last trip to Korea, via my quick few days stop-over in Cornwall. If the last few firings of unglazed, wood-fired porcelains, are anything to go by, I can have great hopes for the next few.  
The rough ash-laden surfaces of the unglazed pieces near the front of the kiln are completely different from the clean, white, fully glazed surfaces of the gas-fired work, that was made on-site in the local potteries, where these stones were found. I think that they will be a great foil to each other and show the full potential of the materials in different hands. I intend to preview a limited number of these pieces from the different sites at home here during the Southern Highlands Open Studios Weekends. We will be open on the first two weekends in November. 
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I’m very fond of the way that my own local porcelain stone with it’s peculiar surface reactions to wood firing, has the ability to turn both red/orange with the wood fired flashing effect and also jet black with carbon-inclusion, both at the same time, when fired in my kiln. I’m keen to see how these latest acquisitions respond?
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I have so many fond memories of Korea now and some friendships that I would like to continue with.  Over the time that I spent in Korea, I was encouraged to learn to use the Kakao Talk app. This is the phone app that everyone uses over there. I have since learnt that it also does a really good instantaneous job of translation. I only have to just touch the screen with my finger and the Korean text message magically appears as English! That’s pretty clever. The translation is better than that from Google translate. I copied it across and tried it out on both, Kakao Talk does it better. i.e., making more sense. There are always some words that don’t work, but I can guess the meaning from the context.
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So I am now in a continuing, intermittent dialogue with my friends over there. I also discovered a lot of photos that people over there had sent me on KakaoTalk. I spent an hour in the street markets in Yeoju with Jun Beom and Mia. Suddenly I find that they have sent  some images of me at the markets. That was a nice surprise.
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I really like street markets and street food. There is always something special or even fantastic to surprise and amaze. Like dried fish, all beautifully bound and hung in vertical streams and a man making cigarettes one at a time in a small semi-automatic tobacco rolling machine. I have no idea how he was selling them. He appeared to be assembling them in boxes of 100 or 200, not  too sure. But maybe you could buy them in bundles by weight, singularly or by numbers  like 20. I don’t know, because no one bought any while I was there. I believe that smoking is bad for you. There is no longer any doubt in my mind, even though the tobacco lobby is still insisting that there is no problem. It doesn’t cause cancer and that it isn’t addictive. It’s just like the fossil fuel lobby, currently still claiming that fossil fuels don’t cause any global warming. They have vast wealth to throw lawyers at the problem and sue the pants of any government that tries to stop them. 

Capitalism is good at lots of things, but in my opinion, any one who owns shares in a tobacco company has no ethics and should be ashamed of their greed. Profiting from death and disease is nothing to be proud of. I understand that there is still one or two tobacco companies that are continuing their legal actions the Australian Government over our tobacco marketing and advertising laws. 

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On a brighter note, the amount of chilli for sale in the market was amazing.  As soon as I entered the street where the stalls were. The first thing that I noticed was the sting in the air of chilli dust. I could smell it. It was in my nose and eyes long before I could see any of it for sale. There were a few stalls that were busy grinding the whole chills into powder. I noticed that many of the workers de-heading the chills, before they were being ground, were working bare-handed. No gloves. I sincerely hope that they don’t get an itchy eye and want to rub it. I’ve been there and done that and lived to regret it. I’d like to say that I learnt and that it’s the sort of thing that you only do once. But regrettably I can’t. I am a repeat offender, or slow learner. I’ve discovered that even an hour or two later, my fingers are still quite lethal anywhere near my eyes.    
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I was particularly taken by the beautiful presentations of bulk garlic. As a garlic grower, myself. I’m always interested in seeing how different cultures present and store garlic. These were really big bundles, beyond plaits. They were bound up using rope!  These big bundles of garlic seemed to be for sale for Au$23 A bargain!
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There were also chickens and even puppies for sale. It’s always wise to remember that a puppy isn’t just for Christmas. It could be for dinner! 
Best wishes from Steve, now safely home again in Australia.

Kim Chi Chronicles – Chapter 7. Epilogue

After visiting the Post Office I take Jun Beom and his wife out to lunch, at a restaurant of their choice – for some noodles! After lunch we go to the bank to get the cash to pay Miss Kang tomorrow and then to the bus station to buy my ticket back to the Airport and walk along the street market near the bus station. We travel home via the big wood kiln that has been packed, fired and unpacked in my one week away.

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We collect my glazed bowls from the workshop, that have dried overnight and take them to Mr Seo, Seung-gyo’s workshop. He is just finishing packing his kiln and has left some room on the top shelf for my few bowls. We arrive and they go straight onto the top shelf, the door is closed and the burners lit. The firing will finish tonight at midnight and the pots will come out tomorrow, midday.

We go out for dinner with 5 of Jun Beom’s potter friends. They order for me as I can’t read the menu. It turns out that we are all having the same thing. Fried pork and spicy noodles. The meal is hot. It has loads of chilli in it. I’m OK with the heat of chilli in food, as we grow chills every year at home in Australia. We don’t make our meals too hot, but with just enough heat to know that there is chilli in it. I am finding this meal hotter than I would prefer. I break out in a bit of sweat on my brow, but manage to finish the bowl full. I look up to find  that it has been too hot for a couple of these local guys too. They haven’t finished their bowl full.

I earn some cultural credit points for finishing. They are all sweating too. I don’t know if it was some kind of ‘blokey’ test, or if it was just a normal meal out for a bunch of potters. Apparently they meet up every Monday night to talk about life as a potter. They have a self-help group. They all pitch in when something is a bit too big for just one studio. They can tackle bigger contracts this way. I’m impressed. They tell me that life is tough for potters here now. A lot of their contracts have been lost to China. It’s the same everywhere, Japan and Taiwan too. No-one can compete against the low-cost base of Chinese industry.

There is a lot of good-natured chat and laughter that I can’t follow, but I can’t help but laugh too. It’s infectious. I finally get back to the air b&b at 11:30. Way past my bed time normally. I get in to find a collapsible bike in the room. No matter how quiet I am sneaking in I still wake the guy in the other bunk. He jumps up! He’s a bit startled. I say Hi! I’m sleeping here tonight, which shouldn’t be too much of a surprise, as my suitcase is next to my bunk, and my bag of dirty washing is on the bed. I’m dead tired and fall straight to sleep after my shower.

My Peddles in the next bunk has closed every door and window in the place and has the air-con set to glacial. It is a hot night but I’d rather get a bit of fresh air in the room. I drift off to sleep straight away, but wake in the middle of the night. Mr Peddles has turned off the air-con and the air in the room is so ‘close’ and stifling. I feel like I can’t breath. I get up and open the sliding doors onto the deck and also the window next to my bed. I can taste the freshness of the cool night air as it slowly creeps in and through the room. I sleep right through till my alarm wakes me. Mr Peddles is still asleep.

I get up and shower and I’m out the door in minutes. I have to meet Miss Kang early, as we are driving back up to Yanggu today to collect my pots, which should be out of the kiln today. It’s going to be a big days drive for her. We are off and heading out of the city and into the country side. I’ve been sitting next to Miss Kang for about 100 hours now in this little car as we have plied our way this way and that. Up and down the country. We have managed inadvertently to almost circumnavigate the greater part of South Korea in my quest. Miss Kang tells me that I can call her by her first name now! We have moved from ‘vous’ to ‘tu’!  So, I do! There is some small progress! She asks me if visiting cards are expensive in Australia. I tell her that I don’t know, but that I think that they are probably pretty cheap if ordered over the internet. Why?

She has been wondering why I have home-made cards? I think what she really means is, why do I have such crappy cards, but she is far too polite to say that. I answer that I do everything that I can myself. This is all part of my philosophy of self-reliance. Ah, yes! She has been thinking about this. We spent quite a few hours over the past week talking about this. At least I did and she listened. Very politely. I think that she is trying to tell me that most people here in Korea will take a dim view of such ‘different’ visiting cards.

There is a very strong tradition here of exchanging cards when you first meet. It’s a ritual. The card must be offered with two hands and received the same way. You have to study it and show that you are taking it all in. It should be printed on a stiff, robust quality card. Perhaps even with a slightly glossy or textured finish. Mine isn’t this kind of card. I think that she is concerned about how I present myself, so that I can make the very best first impression.

I respond that it isn’t too important to me. I believe that anyone who judges me entirely by my card, probably isn’t going to be very helpful anyway. If they don’t respond to what I have to say. If they aren’t listening, then they aren’t my kind of person. I can probably get by without them. I won’t loose any sleep over it. Self-reliance is more important to me. If I can do something myself I will. Even if the things that I make are not as good as the manufactured ones that I might buy.

For instance, I make my own chairs, they are not as good as bought ones. They are quirky and pretty rough, but they have ‘character’. My character!  I also make my own fire bricks for my kiln. They are definitely not as good as the bought ones, but the are mine and they work OK. I don’t need to have the ‘best’ of things. It’s more important to me to have ‘my’ things.

She tells me that she is impressed by my philosophy. She has thought about it a lot over the past few days. She has been helping her mother work in her garden. Her pottery studio is situated out-of-town at her parents farm, where her mother still maintains a garden. Her parents don’t live on the farm any more. They’ve retired into town, but her mother still goes there to work a few days a week. She thinks that it is a better and more healthy life style. We talk about a lot of things along the way, but mostly to do with lifestyle choices, meaningful work and a healthy diet.

She tells me that there is very strong social pressure in Korea for young women to skip meals and then to take vitamin tablets to stay healthy. What do I think about this? I give her the predictable, obvious response. If you eat a lot of fresh green vegetables from your Mother’s garden and add in a few whole grains, then some fish. You will be fine. You won’t need any extra vitamins. All the meals that you have ordered for us when we have been travelling have been exceptional in terms of a healthy diet. It seems to me, from my very short stay here, that the traditional Korean diet is fantastic. Forget the diet pills. They’ll probably do you some harm rather than any good. Eat fresh healthy food, mostly vegetables and avoid the deep-fried stuff.

When we arrive in Yanggu around lunch time. We go into the pottery studio and there are my pots, all set out on the table in front of me. I go over and start to examine them. Unfortunately, most of them have not fired very well. There is a lot of crawling, even though there are 3 different glazes. Mr Jung knows we are here and comes in. He apologizes for the poor results. He says that they are ready to go to lunch. We should go now as we are booked in.

While we are walking to the restaurant. He apologizes to Miss Kang along the walk. It appears that the day after we left, Mr Jung woke up with some sort of paralysis. He is apologising because this ‘event’ has left him unable to swallow properly. He is warning us that he may dribble while eating. He has only just been discharged from hospital. He has spent the week there. He has almost completely recovered now. Over lunch, I learn 2nd hand, through translation, that this ‘event’ that has happened, was a lot worse earlier, but there is much improvement now. The doctors have warned him that he must cut back his work load and stress levels. He must also change his diet quite a lot. I don’t know how to understand all this. The word ‘stroke’ comes to my mind but also ‘Bell’s palsy’. I just don’t know. Miss Kang either doesn’t know the specific medical terms in English, or which english words to use, or Mr Jung isn’t using any specific words that she can look up to translate. So I’m a bit in the dark, but I do feel for Mr Jung and whatever has happened to him. He seems to be walking alright and speaking clearly, so maybe it isn’t too bad?

We return to the pottery workshop and look at my pots more closely. My Jung explains that because he wasn’t here all week. My pots were dried, bisque fired, glazed and then packed into the glaze kiln and fired by the assistants in Mr Jung’s absence. As he wasn’t here to check any of it, the glazes were applied a bit too thick and then packed into the glaze kiln a bit too damp, or so he assumes. Hence the crawling. He has however, filled 3 little jars with glaze so that I can touch them up and re-fire them when I get home.

After a good examination of the pots I find that there are 4 that are OK and that I can show. That’s enough. I’m happy with that. My Jung asks me if I’m sure. I am! 4 will be OK. He says that he will keep the others and re-fire them himself. One will surely turn out OK so that he will have one for his museum collection. I say that he should choose one of the 4. He refuses. I should take them home with me for my exhibition. A roll of bubble wrap has appeared and a cardboard box, but I decide to wrap them well and carry then in my back pack as hand luggage. This method has worked with other batches of pots that I have made in China and Japan recently. No-one will be more careful than me in moving these precious things around.

We retire to the lounge area for a coffee. I have brought my laptop with me this time, as I promised to show Mr Jung a presentation of my work, local geology, studio and house and garden etc. I have spent half a day during the week, collating a 30 page journal of technical information and photographs about my local single-stone porcelain materials for him. I have taken a lot of it from my PhD thesis. I hand it over to My Jung, he flips through it. stopping at the pages of analysis data. It’s all in English, so I imagine that it will be difficult for him to read. BUT!

He surprises me completely. When he’s sees the electron microscope results and micrographs. He stops dead and turns to look straight at her and says completely clearly in English, that I can understand from where I’m standing behind them. “Did he do all this himself”? I’m shocked! He can speak English very well. Either that, or I’ve suddenly learnt to speak colloquial Korean fluently! But in a weird twist, that surprises me even more, Miss Kang doesn’t realise that he has just spoken to her in English instead of Korean. She translates it anyway out of habit.

“Mr Jung wants to know if you did all this technical research yourself”? I go along with it and answer, that she should tell Mr Jung that the answer is, Yes. I did! He nods, but raises his eyebrows. Maybe a hint of dis-belief? It appears that I have been paying my translator for nothing. I only needed a driver after all. I could have caught the bus!

I explain that a lot of this is taken from my PhD. I did all the electron microscope work using the equipment at Uni of NSW. Yes. It’s all my own work. I really enjoyed doing my PhD. I had a fantastic supervisor who was right on my wavelength. He supported my research in every way, and without interfering and getting me to do his research for him. I have friends who had withdrawn from research degrees because their supervisor was trying to force them to do work the they weren’t interested in. I was very lucky!

Mr Jung has been able to follow almost all of what I have been telling Miss Kang to tell him. It’s a good thing that I have nothing but admiration for the man and have always been totally polite in all my dealings. I carry on as if nothing has happened. Miss Kang continues to translate. I’m the  only one that realises what has just happened. I feel a bit odd!

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Mr Jung asks me to show him my presentation. He makes a phone call and two other men appear. One of them is an architect and I’m not sire about the other one. They are here to watch as well, along with one of his staff members. They all sit politely, occasionally asking a few questions and at the end they give a soft applause of clapping. That’s never happened before!  We say our thanks and prepare to leave. Mr Jung shows me the porcelain stones that he has washed. I go to collect them in a plastic bag and take them with me, but he stops me. He tells me that they are not dry enough yet. He will post them to me. I offer, through the medium of translation – continuing the charade, that I can dry them myself and carry them in my luggage. No! Apparently, I can’t do that. I will have to wait until he posts them. OK?

We stop outside the building for the obligatory photos. I offer my phone to Miss kang to take a photo for me as well. She juggles 3 phones and takes a sequence on mine that I feel really captures the total sincerity that has evolved between us in this short time. We are possibly the only two men with this common interest in the world and we have finally met after 15 years of similar research. I feel a strong connection to My Jung. He’s a very thoughtful, creative and helpful person. I like him.

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I’m a bit sad to say good-bye. But we really must leave now, as the drive is a long one. On the way home we approach an intersection without traffic lights, but only a flashing orange light. I take it that this means take caution, slow down and watch for cars. She doesn’t slow down very much and suddenly we are on the cross roads and there are two cars on our left coming out of no-where and travelling at speed. She brakes and swerves, but too late. Fortunately, the other two cars are able to swerve onto the other side of the road and just miss us – just. Luckily for us all, there were no cars coming the other way. My heart is pounding. The adrenalin rush is severe, almost painful. I’m completely shocked!

We stop and take a break. My driver is tired. We stop at the next truck stop for another coffee and a brisk walk up and down the parking area. I make an effort to keep talking to her all the way home, asking her questions, remarking on the scenery. I don’t want her to drift off again. It would be such a shame to die here, like this, and inconvenient for everyone else to have to cope with.

She is wide awake now and for the rest of the trip, which is uneventful. We break up the next 3 hrs in the middle with another loo stop to discharge the coffee from the last rest break. We talk of all sorts of things. I tell her about the building of the new chicken run. Making it fox-proof and dog-proof using thick galvanised steel mesh all around at floor level, dug deeply into the ground. I tell her of my plans to plant out all the summer vegetables on my return, as it will be the middle of September and starting to warm up. I usually get all the early vegetable seedlings started about this time. Sometimes there is a late frost in October and once in November. Then we have to start again, but that doesn’t stop me. The reason that I chose to leave the city and live in the country was so that I could have a very large vegetable garden and an orchard, as well as a pottery studio and wood fired kiln.

She listens as she usually does, making occasional comments. I have become used to her saying something along the lines of. “Thats very interesting” and “I’ll have to think about that”. This time however, She responds at length. She has been considering all our conversations of the past week. She tells me that she has been helping her Mother in the garden with the weeding.

She tells me that she will think about a change in her life, maybe spending more time at the farm and studio. She’s ready for a change, but will still need a job for some cash. I suggest being a translator and tour guide for specialist pottery tourists like me. There must be other potters who would pay for the particular service of an educated, ceramic specialist, tour guide?

On the way home, she gets several calls, a friend, her sister and boyfriend. But also one from Jun Beom. We are invited to dinner at his wife’s parents house. Her Father has caught a one metre long fish today, so we are all invited. We go to the pottery first. I collect my fired, glazed pots from My Seo’s firing. 4 out of 5 are OK, 3 are very good. I can show these. I offer one to Jun Beom, but he refuses it. I offer one to Miss Kang and she almost grabs it off me. Apparently she is pleased! So, I have 4 pots from this firing too. They are all dully bubble wrapped and packed into my back pack. I can’t fit them all in without unpacking my sweater and rain coat. I won’t need them again now.

The Tae Baek mountain stone body was creamy yellow when raw, but has fired to a very clean, bright white translucent body. I’m very pleased with it. If all goes well, I will have some Australian wood fired versions of it to compliment it later in the year. Everything is shaping up nicely. Better than I could have possibly imagined. I owe special thanks to Claudia, for introducing me to her student, Jane in Australia, who introduced me to her brother in Korea, Jun Beom, he in turn introduced me to Miss Kang and everything flowed from there. Thanks also to Byongchan from Sturt workshops, who introduced me to Mr Jaeyong from Tae Baek.

I knew that Cheonsong was going to be difficult, but couldn’t imagine just how frustrating and negative it was going to be. However, I did end up getting some clay from them. I didn’t even imagine that I would be able to get to Yanggu, as the reputation was quite formidable. This turn out to be the most rewarding experience. I hadn’t even heard of Tae Baek or Siila Mountains before arriving here. They were just lucky breaks. I really do hope that  Mr Jung will end up posting me some samples in due course. Funny that he wouldn’t let me have them when I was there?

This has been a very successful Korean end of my research trip. I have travelled  37,000 kms in the last month. I’m ready to go home and sort all this material out. I also have a long list of jobs to finish when I get home. I have a large kiln ordered. I have 3 weekend wood-firing workshops booked in a row in late September and early October, then the Southern Highlands open studios weekends coming up. I can’t see myself getting to any of this porcelain stone and having some more time for research until the New Year.

I get home to the b&b late. It’s always the same here. Everyone is so friendly, and they stay up so late. I’m back by 10.30 and start to pack my bags. I leave very early tomorrow morning on the 7.00am bus to Incheon Airport via seoul. It’s a long 3 1/2  to 4 hr trip depending on the traffic. I need to be there 2 to 3 hrs early to make sure all goes well. I fly out in the early afternoon. I’m all packed and sorted and in bed by 11.30.

I’m up at 5.45 and all ready to go. Jun Beom picks me up and takes me to the bus station. I want to thank him in some meaning full way. More than just a handshake and a bow. At least with Sang Hee, I was employing her and I could give her a bowl. Jun Beom wants nothing from me. He says it’s all right – relax! We sit and chat until the bus arrives. I thank him profusely again. He just waves it off. “Its OK!” He says. It doesn’t seem enough.

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The traffic in the morning peak hour is appalling. It’s stop start all the way along the free way. Grid lock! The air quality is appalling. Out in the country side we have enjoyed much better air than this. It was always slightly over cast looking. I thought at first it might be cloud, but it was consistently always the same, pale, yellowish, photo-chemical smog. During our driving epic. Miss Kang and I talked about this too. She claimed that all the polluted bad air was blown in across the water from China. Some of it might be, but it wasn’t as bad out in the country side. Here however, in towards Seoul the visibility drops  down to a few km or less. I can’t see the sky scrapers in the distance at one point. I know that they are there, I just can’t see them any more after we have passed them. I’d hate to live here in this air. Miss Kang does. She is breathing this air all the time. I’m sure that the majority of it is self-generated here in Seoul by all the industry and traffic. I hope that she will be OK into the future. She has been a very good guide, translator and driver. I can recommend her!

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It’s a very good thing that I Caught the early bus to the airport, because when I get to the check-in. I can’t believe the queue. It stretches about 100 metres back from the zig-zag webbing lanes, back out into the foyer of the check-in area. I walk and walk, along the queue. Stopping every now and then to enquire if this is still the same queue. it is! I don’t want to spend an hour or two standing in the wrong queue. I have purchased the cheapest flight combination possible, so have to travel back to Australia via China. the queue is for all the people wanting to go to China.

I’m just so lucky to have been taken to Australia when I was young. We complain a lot, but there aren’t many places that I have been that are better than this when everything is considered. I don’t live near the beach, or have a view. But life is what you make of it. I have my beautiful partner and son, my workshop/business, my gardens and orchards.

I am so very lucky to have such a good life!

And a bag full of porcelain.

Best wishes from Steve in Korea