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fly ash. Inspiration for the design came from photographs and
drawings of other kilns, especially those of potters John Butler,
Svend Bayer, and the late Patrick Sargent (1956-1998). Revell
explains, I was getting a little bored and was keen to build a
new kiln with the potential for more extreme wood-fire effects
on the fired pots a design that encouraged more ash to fly through
the kiln during firing.
FUNCTIONAL AESTHETIC To date the kiln has yielded some
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handles that have space for three fingers while allowing the thumb
to sit on top. Revells plates have a similar, well-made solidity with
broad bases and a shallow lip. He also makes jugs, bowls, pitchers,
and larger garden pottery, such as plant holders.
As a largely self-taught potter I find the attempt to master the
many facets of this exacting and technical craft to be an ongoing
challenge, which is what keeps me at it. Apart from the physical
challenge of throwing and manipulating clay, there is also the need
to develop an appreciation of form, to understand the raw materials
that can make up a clay body or create a glaze, to experience how
these materials interact and are transformed by fire, he comments.
FIRING & GLAZING The process of loading the kiln is, in itself, a
time-consuming and skillful business. Space is at premium and care
must be taken to allow the flames to seek out all areas of the kiln
unimpeded. Revell uses a series of spy holes through which he can
check on a series of cones that indicate appropriate temperatures. The
optimum firing temperature for the kiln, stoked with softwood, is
around 1340C. The entire process of loading, firing, cooling, and
unloading takes many days and the potter must be present for
much of this.
Revell fires his kiln based on the reduction principle. This means
that the oxygen supply is restricted by blocking up the intakes with
bricks, resulting in a saturation of free carbons in the atmosphere,
mostly in the form of carbon monoxide and carbon dioxide. Because
the fire needs oxygen to burn, the flames seek oxygen within the
clay and glaze. Reduction firing combined with the wood-flame
and ash can bring out a wide range of colours from the clay body,
from black through purple to orange, pink, and red.
The fire-box is situated at the front end of the kiln with the
chimney at the far end. The forced draught from the chimney
creates a current of hot gases and flame that move between the pots,
carrying a quantity of fly ash from the wood fire with them. It is
the current of burning gases and fly ash, heated to full temperature
and settling on the pots, which forms the patterning on the pottery.
Revell uses glazes on the areas that are least likely to be affected
by fly ash and flashing. He uses celadon and nuka wood ash glazes
the former comprises wood ash, felspar, and clay in a 4:2:1 ratio.
The nuka mimics a straw ash glaze by adding quartz to a wood
ash/felspar glaze, with clay, in a 3:3:3:1 ratio. The nuka gives a
glossy white glaze with a tinge of blue where it works well. Revell
also uses a simple shino glaze, made up of ten parts nepheline
syenite to four parts clay.
ANCIENT TECHNOLOGY Perhaps the most nerve-wracking part of
any potters business is the process of opening and unloading the
kiln. With Revells anagama kiln, the anticipation is augmented
by the experimental nature of the undertaking. As the bricks are
removed to reveal the fire-box, the first pieces are removed, still
hot and using gloves. On one of the first pots removed from the
front of the kiln there is clearly a line of blue-ish glaze along the
rim of the bowl. On the left area there are clear signs of burning
caused by the current of flame, smoke, and gases one of the
effects of reduction. The bowl is therefore a witness not only to
the potters hand and eye, but also to the complex chemistry
and physics within the kiln itself. Flames and gases have created
patterning and tonality, dictated by their passage around the
contours of the vessel. An ancient technology is able to provide
unpredictable, beautiful, and unexpected results while still keeping
some of its secrets intact.
CERAMIC REVIEW 269 September/October 2014
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