The Journal of Australian Ceramics Vol 49 No 1 April 2010

More documents

Recommendations

Info

- - -- ------------ Focus: Wood-Firing Feeling for Fire A lustrous affair __ . and a courtship of possibilities. Yuri Wiedenhofer outlines his latest foray into experimental kiln building It"s been three decades since the late Alan Peascod inspired our class at Canberra Art School. He held an innovative torch to ceramics and forced-draught fired kilns.' As I recall, only some students were introduced to smoked lustre, while others were exposed to wood-fired salt. I was among the latter. I looked on as oxygen-deprived gas blasted into a quietly smoking metal box, burners thumping loudly. Usually unattended, the kiln looked intimidating and rather explosive. Nearby, our heads wrapped in towels, we'd blast air into a roaring salt kiln, the forced draught throwing a long, horizontal flame into our faces. We looked like wandering Bedouins. Others, in woollens, floated about like Sufis. These were heady days, and the seeds of passion were implanted in us all. To quote Peascod, " I always felt that the rhythm of forced draught-fired kilns was a very valuable tool in motivating students to become committed pyromaniacs, and hence develop a feeling for fire." 2 Years later, I was motivated to take part in Peascod's smoked lustre workshop at Fire-up Gu/gong, a fire·fest of simultaneous wood-firing. The many lustre firings were stimulating, but too brief an affair for this committed pyromaniac. The nearby tunnel kiln seemed to offer a greater experience. I've continued to play around with kilns and employ a kind of 'lustre mentality' in firing, but still hold an unsatisfied curiosity for this particular type of small wood kiln. So, recently, when my friend Janna Ferris asked me to build her a wood kiln I responded enthusiastically, It had to be small with a 'Dutch-oven' style firebox and I would also need to be able Janna Ferris' wood kiln under construction, 2009 Below left. at floor level, passive damper, inlet flue slot, eXit flu es; below right at level of wall completion, showing door opening prior to arch and crown construction; photos: Yuri W!edenhofer 50 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2010
Focus: Wood-Firing Below: Off-set floor shelf, bag wall and eXit flues, pnor to crown construction; photo: Yun Wiedenhofer THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2010 51
Page 2 and 3: Clean Efficient Electric & Gas Kiln
Page 4 and 5: Now + Then The 3rd ICMEA Conference
Page 9 and 10: .. ~ . . . .
Page 11 and 12: Perspe ctive ! .. , .. - - =-- - '1
Page 13 and 14: Perspective 1 & 2 John Bennett thro
Page 15 and 16: Focus: Wood -Firing Wood Owen Rye c
Page 17 and 18: Focus : Wood -Fi rin g Owen Rye nev
Page 19 and 20: The modern approach to getting the
Page 22 and 23: Focus: Wood-Firing Kwirak Choung an
Page 24 and 25: Construct " stoneware paperclay, wo
Page 26 and 27: Focus: Wood -Firing practice as a w
Page 29 and 30: Focus : Wood-Firing some reports su
Page 32 and 33: Focus: Wood-Firing Above: Gail Nich
Page 34 and 35: Focus: Wood-Firing r- ..- I" • J
Page 36 and 37: Focus: Wo od-Firing A Personal Jour
Page 38 and 39: Focus: Woo d-Firing Iga-style Vase
Page 40 and 41: Focus: Wood-Firing Rowley Drysdale
Page 42 and 43: Focus: Wood-Firing RO: Are you temp
Page 44 and 45: Focus: Wood -Firing Fade with four
Page 46 and 47: Focus: Wood-Firing Stonehenge, loca
Page 48 and 49: Focus: Wood -Firing Rowley Drysdale
Page 52 and 53: Focus: Wood-Fi ring Janna Ferris wi
Page 54 and 55: Focus : Wood-Fi ring Barbara Campbe
Page 56 and 57: Focus: Wood-Firing Wood stack; phot
Page 58 and 59: Focus: Wood-Firi ng Geoff C nspin O
Page 60 and 61: Focus : Wood-Firing Working Fire -l
Page 62 and 63: Focus: Wood-Firing International an
Page 64 and 65: Focus: Wo od-Firing Wood-firing and
Page 68: Focus: Wood -Firing OpPosIte: Graem
Page 71 and 72: Focus: Wood-Firing Once realising t
Page 73 and 74: Technical: Lustre Vase with Indenta
Page 75 and 76: Technical: Lustre Press-Moulded Vas
Page 77 and 78: Technical: Lustre Dodo Lustre Plate
Page 79 and 80: Technical: Lustre Four Rabbits Vase
Page 81 and 82: Technica l: Lu stre Surface Lustre
Page 83 and 84: Techn ical: Lustre Technique At pre
Page 85 and 86: sabbia gallery 14 April - IS May 20
Page 87 and 88: View Kevin Chin, Logged (detail), 2
Page 89 and 90: Inside My Studio In Conversation wi
Page 91 and 92: Inside My Studio Four Beakers, 2009
Page 93 and 94: Educati on crawling type textures t
Page 95 and 96: Ceramic Spaces 1 Hillary Kane and C
Page 97 and 98: Ce ramic Spaces 1 A local village w
Page 99 and 100: Wedge Owen Rye I have two reasons f
Page 101 and 102:
Community of commission work becaus
Page 103 and 104:
Archive: Pottery in Australia, Vo19
Page 105 and 106:
Well Read Low-Firing and Burnishing
Page 107 and 108:
--------------------------------- -
Page 109 and 110:
Australia Wide an encouragement awa
Page 111 and 112:
Cla5sifieds CERAMIC SUPPLIES CUSTOM
Page 113 and 114:
Become a subscriber aJij"stralian c
Page 115 and 116:
Become a subscriber AUSTRALIAN SUBS
Page 117 and 118:
Classified s NATIONAL ART SCHOOL, S
Page 119 and 120:
John Kuczwal An exhibition of Reduc
Page 121 and 122:
Clay Energy Gulgong 2010 I#dnesday
Page 123 and 124:
PORT HACKING POTTERS GROUP A Divisi
Page 126 and 127:
Specialist ceramics training facili
Page 128 and 129:
--- ~ ~ ~~~- ~-- JUDGE STEPHEN BENW
Page 130 and 131:
Old Saint Luke's Studio Gundaroo NS
Page 132 and 133:
Books & T-Shirts New on the Shelf L
show all

The Journal of Australian Ceramics Vol 49 No 1 April 2010

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?