My (current preferred) Process:
My process begins simply, a ball of clay, pinched open with my hands, then built upon with coils and nubs of clay into sculptural pieces that are each individually unique. Once dry, I carve into the piece refining and texturing.
before applying a layer of terra sigillata, a fine slip that, when burnished, gives the clay a subtle, skin-like sheen. I’m still acquiring an understanding of the differences this actually makes with my clay body. I’ll have to consider different types of clays to use as my terra sig to see if it makes a difference now that I understand the basics of pit firing.
After bisque firing, the real alchemy begins. I collect organic materials from my own backyard and garden, banana peels, pistachio shells, eggshells, dried plant matter, and combine them with chemical additives, wrapping, draping, and soaking each piece before it is nestled into an aluminum saggar and pit fired. Because the clay remains porous at this stage, it breathes in everything around it: the smoke, the minerals, the ash. Color and texture are absorbed directly into the surface of the vessel.
The pit fire is loaded with the following procedure…
The outcome is dictated by temperature, oxygen, and chance. No two firings are the same. I don't control the result, I set the conditions and then I let go.
The pieces are allowed to cool for at least 24-48 hours. Before unloading and revealing… Nature, given the right conditions, will always make something more interesting than anything I could have planned….
Cleaned…
Finished…
More recently, I have begun taking select pieces through a third firing, cone 5 to 6, with a matte white glaze. The result is something I did not anticipate and cannot fully explain:
