Cuisson en four à bois Anagama,
4 à 6 jours de cuisson
Le four peut atteindre des températures autour de 1350°, mais il ne s’agit pas de les atteindre au plus vite, mais bien plutôt de rechercher les stigmates d’une longue et lente maturation. Le feu se prolonge plusieurs jours et nuits, cuisant ainsi le travail de plusieurs mois.
Les couleurs sont uniquement dues à la fusion des cendres des bois brûlés pendant la cuisson et des argiles de grès constituant la pièce (mélange d’argiles et de matériaux feldspaths et sables que je cueille autour de l’atelier)
One crucial part of my ceramic life is WOODFIRING. This choice to fire in a woodkiln made me cross France from Provence to Limousin to set up my second studio at LA VALETTE where two generations of potters had already lived and had fired in a Noborigama kiln which was worn and after some years using it, I decided to take it down to build in its place an Anagama with the help of SHOZO MICHIKAWA, japanese world wide renowned ceramic artist friend .. This kiln named by Shozo: SHIZENGAMA, the “natural kiln”, became the essential companion that gives me the wonderful results about which I had dreamed, especially YAKISHIME Porcelains (natural ashes results), without glaze or engobe, which come inside the kiln bare, only biscuit, and go out of it dressed in real paints which the fire likes to paint for my ever-renewed delight. The Colours obtained, purple, orange, pink, depend mainly on the quality of the ashes produced
during the firing and the moment when they are burnt. But the process is not so heavenly.. Wood firing is extremely hard work. From the time that the wood is delivered through to the moment the works are taken off the kiln there is an incredible amount of effort required to cut and stack the wood, to make, glaze the Shinos, stack about 500 pieces and stoke the kiln with 3 tons of wood for 5 days… it’s not the easiest technic of making pots. Nevertheless, the rewards can be spectacular and there is no other way to fire pots that results in surfaces with the depth and richness of high temperature wood-fired ceramics. Not every pot is a success of course....wood-firing is an intensive way to fire and things may go wrong. Every wood-firing is a new opportunity for me to connect with my kiln and to give birth. Opening the kiln is always a thrill because I’m sometimes stunned by works. In my mind, these works have been chosen to pass through the ages..