{"id":4,"date":"2011-11-30T11:08:54","date_gmt":"2011-11-30T11:08:54","guid":{"rendered":"http:\/\/jeremysteward.co.uk\/w\/?page_id=4"},"modified":"2012-03-26T21:43:31","modified_gmt":"2012-03-26T21:43:31","slug":"new-page","status":"publish","type":"page","link":"https:\/\/jeremysteward.co.uk\/w\/process\/new-page\/","title":{"rendered":"Wood-fire"},"content":{"rendered":"
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Wood-firing forms a vital and intimate aspect to my making. Using wood as a kiln fuel invites an elaborate set of challenges, both physically and intellectually. The preparation, the pre-heat, the firing itself, then cooling and the first glimpses of a kiln-load of hot pots: the seductive colours and iridescence of the resulting fired surfaces make it very addictive.<\/p>\n

Aesthetically, it is the fly ashes from the burning fuel, which add a serendipitous mix of glaze ingredients to the maturing clay and slips. Subjected to the vagaries of kiln atmosphere and flame movement, these pots celebrate a meeting between the conscious and unconscious. In this way, firing becomes an integral part of the creative process. It brings a strong cyclical pattern to my work, a chain of decision making that is continually informative to the pots being made in the studio.<\/p>\n

The process of firing itself is a quiet and enjoyable one. The firing day begins at about 5am, following a pre-heat of the raw pots the day before. A white heat of 1300\u00baC, is achieved slowly over about 18 hours and then held for approximately 3 hours to allow for good glaze maturation throughout. By necessity of the long day length and the design of kiln, it is a communal activity. I am indebted to Wobage colleagues as well as local friends and college students, with whom I have learned and shared the experience.<\/p>\n<\/div>\n

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