Friday, April 12, 2013


One of the fascinating aspects to firing work is the concept of yohen, or kiln change work. In the past I have played with a number of glazes that would change during a firing provided certain anomalies were present. In fact, my first kiln change experience was back at CSU when I was working with a tin based white glaze. At the time I was making pots that were influenced by both Delft ware and blue & white sometsuke pottery. In one firing I ended up decorating the glaze with a chrome based wash and when the pots came out of the kiln, they were chrome/tin pink. It was rather startling as the other pots were stark white and these select pieces were entirely mauve to pink in color with almost crimson tones where the brushwork was. I made a number of teapots, cups/saucer sets, covered jars, bowls and plates and decided to see how uniform I could get the surfaces of the pots. These firings were not so much about getting a desired color, but rather seeing the extent of homogeneity that could be experienced in the surfaces as well as proving out some of the theory from Cullen W. Parmelee. It was an excellent first exposure to getting things to alter dramatically in a kiln and the next experiments were all about altering Shino  and copper red glazes.
Illustrated is a set of cups and saucers glazed in a tin based white glaze and then decorated with a chrome wash. Once fired they transmute from white to this mauve-pink toned surface without any help from Calvin & Hobbs. I believe this set was made in 1993.

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