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shino ang walford feb 2014-10

Feb 2014 was the month of holding work in my kiln. It sat fully loaded for three weeks waiting for a window of opportunity for the firing.

In between heat waves and general in-clemency this firing was delayed, putting my eagerness to fire early this year on hold. Then saturday was the day, I had the time but did i have enough gas? Unlike my usual fastidious self I had forgotten to mark on my firing plan where the gas level lay post last earthenware firing.

So early Sat morning I lit the pilots and waited to see how far I would get on the first tank. Lunchtime the last inch of gas was sucked from the lines and I switched tanks believing that this may all be in vein and I would be out of gas and under fire the work. I pushed the climb a tad faster than usual hoping to reach temp. and late afternoon I could feel the coldness on the outside of the tank as the pressure rose inside the cylinder. I had worried needlessly, I had half a tank of gas!

shino ang walford feb 2014-12

 

I sent out vocal apologies to the neighbours as the fresh wood ploomed smoke into their back gardens. I had popped down to the local garden place to get some firewood for the firing as I had nothing left from last year and I think it was just a bit fresh as I haven’t witnessed that kind of black smoke before during the firing or maybe it was the atmospherics that made the smoke stay around and not dissipate. Considering the mid afternoon smoke I decided to alter the dampers while I loaded in the wood.

 

This helped with the smokey back gardens but may have caused the lack of carbon throughout the work the firing.

shino ang walford feb 2014-13

 

The results are still stunning and again different markings on the wares depending on the crystal growth and the clay body. This cup feature post shows a few classic combinations of glazes chun, shino and tenmoku.

shino ang walford feb 2014-14

Adelaide is not really known as a stoneware classical place the wares are dominated by a love for porcelain, the white, the glossy and the pristine are highly valued here but my longtime attraction to the warmer tones of shino and the classic asian stoneware glazes remains.

All the wares are wadded on their feet in the kiln keeping them a distance from the kiln shelf and result being only flat form that stuck to the kiln wash, a good result.

 

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