This is one of the two plates that I made for the Tony Moore June 2015 Anagama/Noriborigama Wood Firing. I created all the surface texturing of the clay surface. I wanted the surface to look as if it had been buried int he ground for centuries. My plates were placed on a back shelf in the fire box: anagama. The patina is a very dark caramelized brown. I was surprised by the results. I am looking forward to further exploring texturing the clay for use in my sculptures.
I made this ceramic plate with the intention of breaking it into pieces for my "Invocation" mosaic sculpture. There is something precious about the whole of something. There's a part of me that wants to savor this plate. Still, there is that aspect of ruination in my work. I find myself reveling in the mystery of what is left behind...I will write more about this later.
In November, it will be a year that I've been working as part of a crew of potters that work the wood firings for Tony Moore's Japanese style anagama/noriborigama kiln. It's been an invaluable experience.
After the June unloading, Tony was very generous with his time, as he answered questions I had regarding clay bodies. We discussed what I'm striving for aestethically. Tony was able to show me the results of silica sand on a pot from the firing. The work was beautiful. I got the silica sand! The experience of working with Tony Moore and the opportunity to talk with other potters and to see the vast array of works that demonstrate varied approaches, clay bodies, and techniques has expedited my learning curve, as I am assimilating what I'm reading in my pottery books. I am so grateful for this incredible journey.