Last Post from Japan

After letting the kiln cool for about a week we unloaded the work, brought it back to the studio and began cleaning it. Because of the nature of wood fired ceramics in general and the Bizen clay and loading styles in particular, the firing itself is etched into the unglazed surface of the pottery. This natural patina is the result of a dynamic interaction between clay, form, loading, and firing. Not only do these surface effects give each piece its own unique character, by observing the wares still stacked in the kiln after the firing, much can be learned about the firing itself. For example, we can tell which areas of the kiln received the most ash deposits, which areas were hot and cool, how high the charcoal was, where the flame burned with an abundance of oxygen and where it burned with an abundance of fuel. All of this information can then be used when planning the next firing.





I wrote in an earlier post that, for me, working with clay is essentially a collaboration with a material rather than a dominance over it. I think firing a wood kiln is similar. Each kiln is different, each firing is different, and even the reaction of the kiln to each stoke of wood may be different. By working with the kiln--during a firing and from firing to firing--success, in my opinion, is more likely.


After the firing we took all of the work out of the kiln, brought it back to the kiln and then began cleaning it. To clean wood fired ceramics a variety of tools are used: blocks of silicon carbide take off the large burrs, sandpaper is used to make the surface more friendly to the touch, and if necessary, a grinder is used for large or stubborn protrusions. Finally the work is washed in several changes of clean water to remove the dust from cleaning and any remaining loose ash.
After the work is cleaned, it is organized and certain pieces are selected for upcoming exhibitions.




The timing of my stay in Bizen was such that my first activity was processing clay and my last was cleaning the fired work. In between, I got to experience helping Sensei make work, peparing for the firing, loading firing and unloading as well as various assorted tasks. Thus, I was able to experience a full cycle of making work in the studio of Isezaki Jun Sensei.

In addition, I made several life long friends, learned a great deal of Japanese, and grew in many other ways. This experience was particularily interesting to me because of my prior experiences. About three years ago I finished a two year apprenticeship to Jeff Shapiro. Since that time I have worked as an independent artist and made my own work. Much of what I leared at Shapiro's as well as much of what I employ in my own work has roots in Japan and particularily Bizen. Therefore, to apprentice again, this time in Japan, after working on my own for several years, felt very much like I was tracing my own artistic lineage. Though I do not consider myself a traditional artist, I certainly recognize the importance of tradition on my work and humbly regard my self as the grateful recipient of several traditions.

More pictures of my time in Japan can be found at picasaweb.google.com/superduperdog3

Also, with the approval of Isezaki Sensei I made a short film about my experience. You can watch it here.

vimeo.com/2929505

There is a password that is required. It is "woodfire."