5 days ago
This is one of my favourite pieces from the oribe firing, a larger one off vessel, glazed totally in oribe save the protruding edge and the line that follows beneath it. unlike most pots fired this piece is relatively void of any brushwork but i’ll be posting more over the coming days of the range of pieces inside, be it the more carefully painted pieces or the hakeme brushed ones. i’ve learnt a lot, things i would and wouldn’t do again, which shapes work better with the glaze and how to avoid a few disasters. we agreed that the storage jars would be safe with just a skim of watery alumina brushed around the gallery when glazing but every storage jar and teapot lid stuck, i’ve managed to loosen most off very neatly but it’s a pain. i should have gone the old faithful route of putting tiny waddings separating each.
the p*t still sits upon the setter it was fired on, these have three stilts and hold the piece aloft so the incredibly runny copper oribe glaze doesn’t wield them to the kiln shelves. these snap off like crackers and any remnants can be ground off afterwards or even turn to powder when submerged in water.
i think i’m happy with most of it. there are some pots that will certainly never see the light of day and it’s difficult because i wish i had applied the same brushstrokes and decorative qualities i actually ended up liking over the whole range rather than a select few
but there was no way of telling, it’s only once fired that the pots show themselves for what they really are. i have to remind myself that the most important thing about coming to japan was to learn new techniques and to observe the cultural differences within the craft itself, making my own pots to fire was an added bonus and i was lucky enough that ken suggested i do a shino firing too, which is cooling properly as we speak.