We also looked at a sample of other potter’s work to see the solutions others have tried to integrate a lid into a form. Understanding the balance between functionality and aesthetics, between the practical and the decorative requires a experimentation and a critical eye.

Throwing on the Leach treadle wheel and off the hump proved a new experience for some, as did the trick of using dental-floss to cut off the finished lid from the hump. We had two studio clays available for students to try – the 10% and 25% mixes, which showed how different clays can influence the way you throw.

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Both Charade and I were students at the recent Jean Nicolas Gerard workshop held at the Auckland Studio Potters. It was great to see such a fluid maker at work, to see the deft touch and simple gesture articulate his work. So, inspired and with a few workshop pots as guides, we both experimented with ways of incorporating some of what we saw into our own work. It was fun to try different approaches and see which ideas the kiln would treat well.

The darker of my clay mixes with the Karangahake flashing slip used a bit thicker and with more abandon was my starting point. A bit of sgraffito with different sticks, a bit of terra sigillata, a daub of glaze; all applied with a freedom born from inexperience. Some pieces undoubtably worked better than others and there were some pieces I’m still figuring out if I like, but there were some pots that a definitely on the right track and worth making more of…watch this space

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Another firing successfully completed with some interesting clay tests. It’s the testing of new ideas or technologies that are the pieces I linger over during unloading. This time three new clays from Primo were dotted throughout the kiln and a tweak of my standard clay mix.

I wanted to see how the clays flashed and reacted with the flashing slips. Also inside was a newish idea using water as a resist, splashing water on a piece then pouring a glaze that responds with colour variations due to thickness, kind of a randomising of the process.

We were lucky with the weather, somehow picking the one decent fine day of the week to fire. I’m noticing a slow creep in the wall above the throat arch, instigated by some excess clamming on the outside that I removed before this firing, but there was still about 4mm of creep towards the bag wall. The main consequence is an increase in drips on pots on the lower throat step. No effect on the firing of the kiln so far but does indicate that my H30 bricks are closer to end of life than I had hoped.

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It’s been good to get back into the studio over the month of May, making a new batch of clay up and starting a list of pots to make for the June firing. Starting with the standard ware range – pasta and noodle bowls, mugs and beakers. Then  larger bowls and pouring bowls. Changing clays to the dark Rahu blend and another series of forms – tea caddies, jugs and tea bowls.

The kiln always needs some maintenance, some repair more than the usual clean and inspection. This time a bit of insulating adobe around the base of the chimney. Then it’s into glazing and working out the combinations of liner glaze and exterior or highlight glaze. This firing we’re trying a new Barium Blue glaze out on a few different pots to see how it looks, different methods of application and placement in the kiln will test how it reacts.

We pick a clear weather window to load and fire the kiln, it makes the job that much easier if we don’t have to dodge the showers. Firing close to the winter solstice is often the easiest as you can see the changing colour inside the kiln better and spot the chimney flame sooner. We stockpile wood close to the kiln before it gets dark which saves a job at the pointy end of the firing when we’re soda spraying and stoking.

The firing went smoothly in 12.5 hours and produced good results. Now comes the last jobs, sanding smooth the rough bases and picking out the seconds and the exhibition pieces, everything else is destined for one of our outlets.

To see more of Duncan’s work from this firing then head over to duncanshearer.co.nz

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For more about Ceramic College follow this link: http://www.ceramiccollege.co.nz/

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Starting the kiln on the coldest day of the year meant an extra half hour was needed to thaw the firebox and get the chimney to start drawing. But my box of bricks soon began to hum along and follow the log in its usual predictable way. With Laurie and I hauling wood up the ramp it left the stokers to focus on calling the rhythm and monitoring the firebox.

This firing we were continuing the clay tests and a new glaze. Also experimenting with how the clay handled raw glazing – tricky when you have to slip first, dry a bit, wax, raw glaze and then wait to see if it’s too much for the clay, then decorate.

After 14 hours and a good squirt of soda all was well cooked. Unloading revealed some gorgeous pieces, some drippy glazes, some unexpected cracks (not in the raw glazed work) and interesting tests to work on for the next firing.

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