This piece speaks to the relationship between the flame and fire in the kiln and the clay. All the colors and textures you see are varying thicknesses of fly ash from the wood fired kiln.
The pieces in this series were fired in the base of the chimney of a large kiln. The temperature is quite inconsistent and swings widely based on what is happening. As a result the prices tent to crack under the stress of the hot cold cycles. But as the temp increases the exhaust gasses and fly ash settle sealing up some of the cracks. Where the cracks were severe. I sealed them with 24 Karat gold using a take on a traditional Japanese technique called Kintsugi. The cracks are now solid and reinforced
In a wood fired kiln, the placement of a piece and its location relative to the fire will, in most part, determine how much fly ash will settle and subsequently melt onto the surface. The wood kiln fires for up to 6 days with a flame needing to be fed 24 hours a day. It takes a crew of like minded individuals to coordinate a wood firing.
The clay was designed from the beginning to survive. In the case of these pieces they have been redeemed from utter destruction. It reminds me that even if we crack there is still hope. Because of this I see alot of hope in my work. I am reminded that our struggles only make us stronger.
These pieces were made durring the covid pandemic and were a poiniant reminder of the danger but also ultimately we are better on the other side of that danger.