CLAYTIMES · COM n 20TH ANNIVERSARY • AUTUMN / WINTER 2015 Perspectives I As Far As I Know
Developing Rich & Beautiful Surfaces in an Electric Kiln
There was a time not that long ago when many potters considered electric kilns to be a second-class way to finish ceramics . “ Real ” potters fired in gas kilns or wood kilns and often added salt or soda to their firing . Firing , it was felt , should involve FIRE and not just heat . Somehow a small silver box clicking away in the corner of a garage or basement didn ’ t have quite the same sense of drama as a 30-foot long wood-fired anagama .
There were actually good reasons why potters preferred fuel-fired kilns . Atmospheric firing ( what we do in gas or wood-fired kilns ) can produce surfaces that are rich , complex , layered and varied . The magical combination of high temperatures , slow cooling rates , reducing flames , oxidizing plumes and flux-rich vapors can result in surfaces that are breathtaking . We often see images of these pots in magazines and on Facebook .
That said , these pots can tend to have sameness about them , with most of the colors being in the warm end of the color spectrum . You won ’ t tend to see many bright , cool colors from a wood-fired kiln , for instance . On the other hand , this is one area in which electric kilns can truly shine . Electric kilns may not easily produce the rich variety of warm tones that can come from a soda firing , but they can produce a range of colors that would be nearly impossible in an atmospheric kiln .
Another thing that we don ’ t often see in publications is that many of pots from these atmospheric firings end up being less than beautiful . We love varied surfaces , but another word for varied is inconsistent . Potters who fire in atmospheric kilns often struggle to make sure that those pots that aren ’ t magical are , at least , acceptable . This struggle has caused more than one wood / salt / soda aficionado to rethink that approach to firing .
If there is one thing that we can easily get from an electric kiln , it ’ s consistency . Computer operated electric kilns , in particular , can be remarkably consistent . On the other hand , electric kilns only supply one thing : heat . They don ’ t supply a reduction atmosphere , vapors , fumes , fly ash or any of the other things that can tend to result in beautiful surfaces in a fuel-fired kiln . So how do we create beautiful surfaces in an electric kiln when all of these aspects are missing ? The secret is to think like an artist .
In all the years that I ’ ve been in art schools , I ’ ve never heard a painter say “ I ’ m going to put my canvas in that box over the weekend . I sure hope it ’ s beautiful when I come back on Monday ”. The very idea is ludicrous . The painter knows that the only way she will find magic on the surface of the canvas is if she puts it there . Similarly , the secret to getting beautiful surfaces out of an electric kiln is to thoughtfully
PART ONE OF A SERIES BY PETE PINNELL
consider all aspects of the surface and apply the right things in a thoughtful way before you put that pot into the kiln .
How ? As it happens , there ’ s a wide range of strategies and approaches that work very well , and they can be used in fuel-fired kilns , not just electric .
First , always consider the surface of the clay itself . There is no such thing as a lack of surface : every pot has a surface , and that surface has things to say . It may simply be what was left over from the processes used to fabricate the pot , which may be a combination of finger marks , rib marks , trimming , and joining . Each of these tells a story about the forming of the pot , and each can be interesting . However , a story told purposely is generally more interesting than one that occurs without thought , so the first step may be to simply look at the surface and think about what you ’ ve left there . The surface of the clay should be consciously considered and addressed . Sometimes it ’ s just a small step from leaving a surface to making a surface , but it ’ s a very important step .
A second thing you can do is look very closely at the glazes you ’ re already using and see what information those can provide you . Remember that you are never looking at just a glaze : you ’ re looking at the glaze as well as the glaze ’ s interaction with
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