Wood & Soda Fired Two-Tiered Wide Vessel


Approx. 4.75”W x 3.75”H

This vessel was fired twice: once in the anagama, where it had a variety of tan tones mixed with white (the raw clay body, completely untouched by ash), and then in the ChickenCat, which provided a range of color ranging from glossy blues to matte yellow.

Some of the original coloration from the first firing can be seen beneath the added layers of color & ash glaze, such as the tan indented middle ring around the center of the pot, pictured here, and the browns peeking out from the yellow on the left-hand side.

The drier zones of a kiln tend to yield a variety of matte tans, sometimes leaving areas completely untouched by ash or atmosphere, which results in seeing the raw clay body - white in the case of the clays I use. I usually refire works like this, and this piece is a perfect example of the magic that can occur in a second firing (aka "refire"): the tan tones from the original firing serve as a contrasting base for the areas that got more coverage from the second firing, providing a dynamic surface with varied color and texture.

Not all refires are successful. I've refired pieces up to three times, and interestingly I've had refires look more bleached out than the original firing's surface. It is still as difficult to predict the results of a refire as it is to predict the results from an initial firing. This adds to the satisfaction when a refire turns out just right: part of what keeps us potters hooked on the thrill - and gamble - of atmospheric firing methods.