|
A Brief
Statement Regarding Pit Firing Processes
The firing of
clay vessels and other clay objects began with native cultures
creating functional wares for use in gathering food and water. Later,
the process evolved to include figurines and other sculptural
objects. In the past few decades, there has been a renewed interest
in primitive firing processes, as artisans become more interested in
the spontaneous effects of these firing processes, and the aesthetic
and decorative qualities that occur as a result of the fire.
With
temperatures up to and exceeding 2200 degrees, the pit kiln at
Wisteria is capable of melting glass and nonferrous metals such as
copper. There is a potent symbolism behind the pit firing process.
When we place a dry clay object into the fire, there is no guarantee
of it coming out in one piece. This is due to the sometimes erratic
heat fluctuations of the fire itself. This can cause pieces to
"pop" and sometimes shatter. Therefore, pit firing is very
much like a rite of passage of sorts, where an individual submits
their crafted object to the will of the fire as an offering.
If the clay
object survives the firing, what can be seen on the surface are
carbon markings from smoke, as well as coloring agents that were
added to the fire before and during the firing process. These
"tattoos" on the surface of the object become a testament
to its journey through the fire.
Participants
in the clay workshop will learn about how to best craft objects for
the pit firing process. Everyone can create at least one small item
to place in the Autumn fires bonfire, which will burn into the late
hours of the morning. After the fire is out early on the next day, we
will sift through the ashes to retrieve our art objects. Casey Bradley
|
