The Journal of Australian Ceramics Vol 49 No 1 April 2010

The modern approach to getting the wood that I now use is pretty much standard worldwide. Offcuts
from sawmills, basically the unusable sides cut from the logs, are delivered in bundles strapped together
with hoop iron. To cut these to length with a chainsaw, some simply cut through the bundle, but as
I need two different lengths of wood (one of finer longer pieces for side-stoking, the other thicker
shorter pieces for the front of my anagama), I sort the pieces and stack them in a frame so I can use the
chainsaw to cut them to length. All being well, this eliminates the need for any wood splitting down
to the right diameter because the sawmill waste is usually thin enough. If not, I can hire a log splitter
for the few days it is needed, at little cost. The total cost of wood for me for a 4-5 day anagama firing,
including truck hire, is about $200. I like the fact that my wood comes in a Mack truck, normally a
gravel truck, owned by David O'Brien. Not many people in the arts have their materials delivered in a
Mack. David has a gravel quarry where I can get other materials such as clay and the gravel I use in my
wad mix.
In add ition to the sawmill wood, I use some from fallen trees or branches on my place, cut to length
with a cha insaw and then split with an axe. As someone said once, cut down and then cut up. With the
welcome help of my adult sons, we can get a truckload of wood ready for the kiln In a long day or, at
worst, a weekend.
If we had to use the methods of the 19505 to get our wood ready, even if we modernised by using
machinery everywhere instead of labour and used a saw bench driven by a tractor, I would be firing with
biodiesel - to who knows what aesthetic.
www.owenrye.com
THE JOURNAL Of AUSTRALIAN CERAMICS APRIL 2010 19