I'm in trouble, I was in much better shape before being bitten by the W O O D bug. I'm lost. How does one integrate all of the lovely surface, warmth and variability of atmospheric firing into good old gas reduction with all it's sheen and consistency? All of my glazes are now (UN) magically deliciously way too S H I N E Y! What's a girl to do? I guess I can play with the shino's some to afford some kind of consistent variability.
On the positive, the throwing is going splendidly, the treadle taught me a lot. Slow throwing for me, keeps me in very close rapport with the nuance of the clay, it's all more intentional, less wandering around hoping for something. The pots are going where I want them to go.
I'm two thirds of the way towards firing the big kiln. You know the one with the hairdryers for burners and a kiln shelf picnic table under the damper to trick the fire back down into the lovely O L D Alpine updraft with the blown out spy holes and the two layer soft brick door!!! Potters, we are a "make do", haggard bunch. Wonder what wood happen if I threw in a stick or a burrito of salt or something? Guess I'll scrape some shelves!
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