Illustrated
is a picture of the bottom of a covered jar, the pot was glazed first in
temmoku and then in my runny red iron glaze and is what is known as a close
call. It is immediately apparent that the glaze is rather runny and if you are
going to dance with the devil, best to build in a glaze trap just above the
foot to slow down the momentum of the molten glaze. The other thing that shows
up well in the picture is the glaze runs and thins down, collecting to
create a crystalline like surface of mostly pure iron with reflective speckles scattered
among the glaze runs. This effect shows up rather brilliantly in bright direct
light or in sunlight and gives more depth to the glazed surface. This is
obviously another one of those unpredictable happenings which makes working
with these glazes all the more interesting, each pot comes out with its own
individual version of the same two glazes.
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