Pit Firing: Experiment 1

My First Experimental Pit Firing
French Beach, Karachi
Team: Teymour, Priya, Shahriar, Arshad
Advice, Notes, Techniques, Help, Guidance: Hilary Chan aka The Clay Monk
http://claymonk.com

Three Generations

Weaving Desires

September 16th 2009
Rumbur, Kalasha Valley
Chitral District, Pakistan





We watched with fascination as she washed and braided her hair by the river. Grinding apricot bark sap on a stone with water, a thick paste is the modern day hair gel. It looked to my eyes that they weave songs of abundance and thanks, joy and friendship, love and laughter. The Kalasha people welcomed us to their valley as a sister or brother. We walked through narrow trails leading to bridges and exquisitely designed homes- every house and space follows a slate stone and wooden frame theme. The city people think our mountain folk are backwards and illeterate; the mountain folk don't waste time directing their energy towards the city people! We slave and buy phenomenally priced fruits in the city; no one "buys" fruit in the valley; the trees belong to all or nobody and they are wise to know they live in heaven on earth. We with our architecturally sound houses, security, hi-fi alarms, arrogance and the automatic humbling (is humble the owrd or instant fear)that comes with the constant tragic new headlines are far less "advanced" in many ways, than we like to believe. A false sense of advancement perhaps?

Hindukush Dreams

Himalayan Dreams

Nanga Parbat (Naked Mountain)
Sleeping Beauty or the Famous Killer Mountain
8126 metres
First Ascent: Hermann Buhl 1953, Germany
Photo: Me



It has been exactly a month since my return from the magestic Himalayas and Hindukush Mountain Ranges of Pakistan. Backpacking through valleys ribboned with crystal waters, we began our journey in Chitral's Kalasha Valley and ended at the foothills of "Sleeping Beauty" better known as Nanga Parbat.

Walking up a mountain from Urguch Dok was by far the most challenging trail I have experienced to date. An amatuer hiker, I have more desire to reach a heavenly location by foot than stamina! There were moments when I truly just wanted to jump off the mountain and get it over with already. But then, I would look all around me and see pink flowers blooming, Tirich Mir sparkling in the sun, blue blue skies and stately pines. And then I knew. I knew why each and everytime my lungs screamed from my negligence and inhalation of cigarette smoke, my heart soared to see what only those who walk upon Mother Earth can see.

When I embarked on my first major hike, I was in Hawaii. We walked 11 miles along the Na Pali coast into the pristine Kalalau Valley. Passing bamboo groves, guava trees, papayas, mangoes and our very own local 'jamun', these mentions are a drop of what we experienced. Double rainbows arched across the sky with dolphins jumping through the red orange and yellow, a clear blue ocean to drown ones thoughts in, and a jungle rich with orchids and sustenance. It was during this partciular hike that a piece of advice was given to me by a fellow camper from New England. The hike being extremely advanced, my apprehension was whether i could "really" do it or not! Well, Will's advice was to remember two important tips: watch your footing and when you see something breathtaking- STOP!

Our walk from Urguch Dok to Kalasha Valley was similar. After a seven hour walk we descended into a valley laden with fresh fruits. Walking through narrow stone alleys with trees laden with figs, apples, pears, walnuts and grapevines, it was only when we left the valley that we realized we were in a dream. A dream so sweet.

Enveloped in its serenity, coupled by the landscape and the sheer beauty of the people all made for a surreal experience. Skipping on stones and jumping from rock to rock and crossing bridges with aquamarine waters gushing beneath us, it was these very rocks and stones that we laid foot on, step by step, higher and higher, to feel on top of the world.

It is these very rocks that I have made in clay to re-live the memory. It is these very stones and shimmery jewel-like shards and rocks that were giving ground for us to reach our dream destinations. Walking on the earth and getting closer and closer to Nanga Parbat, it is the stones that guide us and act as landmarks to remember the way back. It is these huge boulders that mark the first view point that gets our hearts racing in anticipation of how much nearer we are to the center of the universe; the center of our universe.

The morning was greeted when the first drops of pure golden sunshine poured down the lady's peaks. My eyes would fly open at 6 am and looking out the window to a dark crisp dawn, i knew i had just enough time to pop my feet into my boots, pull a hat over my head, wear my scarf, and step outside to yet another jewel encrusted, serendipitous morning.




Slab Built
Stoneware
Raku Fired
Crawling Glaze
Photo: Bina Khan

Ceramic Raku Workshop "Earth Fire: Magic

From the Earth For the Earth Studio
A Raku Workshop

A ceramic handbuilding workshop I offered to a group of 9th Graders at the CAS School from October 5th to 17th 2009. The workshop explored techniques and processes: pinch pots, coiling, slabbing, slipping and scoring. This culminatied in an Animal Farm Project, incorportaing all learnt techniques.We ended with a Raku Firing and an evening of fire magic. Parents attended with a pot luck to share and students were exposed to the insastaneous joys of raku firing.

Reflections: Studio Artist

September 2008- Present

Last year I made the decision to try and be a full-time studio artist. The journey began in Arkansas (see previous posts), traveled to Virginia, culminated in a duo exhibition showcasing the wood fired and salt glazed works i had created in various studios and came round full circle to Karachi.

On my return, however, I made the conscientious decision to continue this proces of art making - without other interferences and commitments. Of course, this cannot go on endlessly, as practicality with kick in soon enough. But until my upcoming exhibition in December, i am wholly and souly committed to a 100% art making, thinking, breathing, being, practice.

These past few months, begining in July, have been the ultimate test. My studio, as most of you know, is not equipped with a kiln. I do have access to a bisque kiln, which makes for stage 1 comlpletion. The final fire, you will learn more about when i begin to experiment and start the particular process. Until then, the journey has involved: clay making, wheel throwing, altering, hand building, and a Raku Workshop with 9th Graders.

Tha clay making was extremely necessary. I have made a large batch of 1000 lbs of clay. It isn't much really, and then again, it is absolutely wonderful to not have stomp away the lumps, have endless amounts of clay, not have to reclaim constantly, and altogether it allows for a continuum process.

In the beginning i began by experimenting with various forms which have been playing in my mind. Drawing, sketching, chalking out ideas, bringing them to fruition on the wheel, discrading many, reclaiming most, bisque firing some and on and on it goes.

Lately, the energy has been phenomenal. I am begining to understand that with time and continuous engagement in the studio, one's work really is effected in a very different manner than that of a hobbiest potter. One has to keep making and looking, seeing and observing the forms, constantly, in order to eliminate or keep on with an idea.

I dream of a full-time-life-time studio. But for now, I'll take what i get. Two more months to go, and that wheel is a spinning!

Clay Magic and Ball Mills

As you know, preparing my clay in Karachi has been an impractical and tedious task. I was mixing dry ingredients in buckets, in small batches, and it took days to reclaim and prepare a mere 50 lbs of clay. The quicker i finished the clay, the sooner did I need to revist the laborious task! And then there have been my kiln woes. I have been bisquing my work through the generosity of mainly one partciular artist: Tariq Jawed. Tucked away in the heart of the industrial area in Karachi, Tariq J's studio and the facilities are a blessing!
Despite the stress of transporting my work safely and packing them in paper waste, at least I have a place to bisque my work and that too in an extremely non stressful, simple, and conducive environment. Whenever i go to bisque or pick up my works, we do end up chatting, exchanging stories and engaging in clay talk. Recently, we have been discussing my clay making troubles, and I was offered the help of Tariq J and his studio, yet again.
Hosting a massive ball mill,I was told to stop stressing and simply make a large amount of clay in one shot! "I have a ball mill Shazi, the motor can be easily fixed to run on one phase (due to electricity problems) and then what is the problem? Bring your raw materials here, my assistants are here to help you, and make lots of clay. It will be milled, you see what texture suits you, and then we shall dry it, then you pug it and that's it!!" In my head i am singing: "It's easy like A B C...." So I have finally realized a ball mill is detrimental to making clay in Karachi. Actually, let me rephrase that- I have always known it is imperative to make clay in a ball mill here, however, ball mills are not easy to come by. Well so i thought.
The raw materials required are semi-milled, hence, mixing them in a bucket is not only labour intensive but it also does not assist in the preparation of a smoothe, well mixed, and finally ground clay body. But that is no longer a problem.
I began taking my clay to Tariq J's last week and over the weekend it was milled for ten hours with the help of Sadiq, Amanullah, and Rahimullah; a family of potters, they hail from Dera Ismail Khan, and are working for Tariq J at the moment. Their help has been crucial to this clay making process, and it goes without saying that Tariq Jawwed's genrosity and spirit towards my clay woes is pure magic. An open and accessible studio, it is the only space in Karachi where anyone is welcome. Red tape, beauracracy and drama do not exist in his studio. Thank you Tariq Jawed and team!!! Sadiq
Rahimullah
Amanullah

Karachi Pakistan
August - September 2009

Silhouettes Converse: A Work in Progress

Sketches

Charcoal
August 2009

Charcoal Drawing 2009

Charcoal and Coloured Card
August 2009


This past week i have been experimenting with my clay forms through charcoal and coloured card. There is a fluidity and gestural simplicity achievable through these materials which i am striving to find in my clay art.

Wood Fire Blues

If you have been journeying with me on my blog you will see that I was away traveling and firing two ten day long wood kilns, making work, and exhibiting. On my return to Pakistan (Karachi) I was in high spirits that perhaps the non existent clay artist community has bonded and come togther. Sadly, it is not the case. Working in complete isolation has begun to give me the blues. Though enjoyable to work in a quiet private space, it is disheartening to feel the complete lack of camaraderie.
Then there is always the dilemma of how to fire. We have one wood kiln in all of Pakistan (high temeperature wood kiln) and it lives at a pretsigious art institution in Karachi. One would think that the facilities would be open for rent to outsiders (non faculty) and independent artists. In a country where ceramic resources and infrastructure is limited, a college holds the key to diversity, growth,and the coming together of artists and students alike. Albeit, the kiln is under lock and key, bolts and chains and the heavy red tape involved makes it just futile to try any longer, believe me i have tried, and have been given every excuse uunder the sun = no kiln for you! My mentor and friend Trew Bennett at the moment is loading her anagama in Virginia. All my chrysallis cocoon series are with her and most generously she is firing them for me in prime spots of her kiln. Now that is pure love!I have the wood fire blues.....

Views from the Studio

Silhouettes Converse Series II: Untitled

Works in Progress

Stomp Away the Lumps

I have been making my own clay bodies since my first clay class. In Vermont we had a faithful Soldner and a pugger. Oh how i miss thee!

This is a method commonly used to reclaim clay slurries to a workable consistency in the absence of mixers. The clay is mixed in plastic drums and then spread out to dry slowly on a canvas sheet. After approximately two three days, spread the slightly stiffened mush of clay onto a plaster table, which slowly absorbs the extra water content. The clay needs to be watched at this stage and flipped over occasionally to ensure even drying. When it reaches the desired consistency, double wrap in plastic and store till needed. The older the clay the better; at Bennington i would try and make clay a semester in advance to allow it to age a few months at the least. On my recent return i sorted out the clay i had left behind and discovered a three year old batch; it was heavenly!

Then there is always the batch of clay which is problematic to reclaim without the mechanical tools. The leather hard chucks of scrap and pots sliced and pushed beyond its limit! Into the bucket they go and how hard it is for it to disintegrate when not completely bone dry. The solution to this is simple: spread the soaked and hand mixed slurry and big lumps and chunksonto a large canvas sheet, roll up your pants, and foot wedge away. Not only will you get the little lumps out of the clay by pressing your toes on them, but you will be able to stomp and break up the wettish stubbron lumps into a smoothe consistency, and wallah, your clay is ready for the first few steps of reclaiming.

Stomp away the lumps!

Japanese Wheel Label

This is the lable on my wheel. It is supposedly a SHIMPO. If anyone can translate this i would be most grateful.
Thank You

For the Love of Shoes: A workshop in Clay

I am offering a 2 day ceramic workshop at The Lyceum School. The classes will run from 10 am to 2 pm on Saturday 15th and Sunday 16th August 2009.

The class will focus on basic methods of handbuilding. Mixed media will be incoporated through a conceptually charged project, which will be open to interpretation. Students will familiarize themselves with clay as a 3 D material and learn simple techniques.

All materials will be provided. There is no glaze or firing component for the workshop, however, firing can be discussed and i can guide you to where you can get your work fired.

Please Dress for mess and bring a shoe. The class is limited to 8 students minimum and 20 maximum. Registration fees are Rs 2000 inclusive of materials.

Registration deadline is Wednesday 12th August 2009. Those who are not students or alumni of the Lyceum please email me for further details at shaziehgorji@gmail.com

Looking forward to a weekend of high energy and an earthy experience.

Pottery Blues

Buck Creek Pottery (2009)

I close my eyes and am immdiately transported to the wonderful studios at Buck Creek and Fox Mountain. Serene views of woods and bamboo, coyotes howling at night and pools of water sparkling clean. A treat for the eyes, a feast for the heart and soul. Work gets stacked on carts and when time to bisque, pop it goes into the kiln.

I shall not reveal my studio and kiln blues; it's a long story to say the least. I have access to various gas kilns due to the generosity and spirit of a couple of artists in Karachi. But the nightmare of packing work in boxes and cartons sandwiched between plastic, fabric and paper waste makes for a stressful transporatation of works from one studio to another. The roads all have potholes and rubble; everytime, despite the snail speed, i go over a bump and a crater, the works are in danger of faling apart, while i have almost fallen apart already. Initially i was limiting myself to small little tiny pieces that pack easily. But i do not want to limit my creative process, the inspired forms that emmerge, and i want to work large. Yes very large!!!

So what do i do? How do i pack these flat, largish platters and transport them? How long till i have a space to build a great wooden cabin studio for myself, complete with a wood kiln? When oh when? I have the pottery blues

Night Blooming Cereus

“I must tell you about this flower; Selenicereus plerantus. It opens
only in the dark; it begins to unfold around 9 pm and it closes before
dawn, slams shut at the very earliest probes of gray light. When it
blooms, no one can be alone at night, it is not possible, nor can
anyone fear the night, not in the slightest. This flower touches your
face, it kisses your ear, its tongue slides across your crotch.
The flower is shameless, absolutely shameless. When it opens its
white jaws, the petals span a foot and lust pours out into the night, a lust
as heavy syrup, and everything is coated by the carnality of this
plant. It opens only on the hottest nights of the year, black
evenings when the air is warmer than your body and you cannot tell
where your flesh ends and the world begins.”

Excerpted from as essay, The Bone Garden of Desire, by Charles Bowden
Flower and Photography: Trew Bennett

Monsoon Rains

Journal Entry: 2006
Memory lives in our blood. The monsoon rains flood the streets. Water triggers memories. You told me once never to fall under the spell of nostalgia. I remember that every time I wander down that lane.

Thunder and streaks of lightening enveloped the city for two days; the cars slowed down, people involuntarily retired to their homes, and grumblings could be heard in the distance of a city incompetent. Roofs caved, cars sank, and children swam in gutter water- merrily.

Diseased minds that feed on the city's drawbacks regurgitating all the negativity they see yet do nothing about. Tongues waggling constantly beating down on all that is dysfunctional and stagnant. Like the water in which mosquitoes will shortly breed and bite my sweet blood, marking it to remind me of the time when the city was steamed and bathed.

That 'once a year' when the trees are proud to be green. That time of the year when our flesh gets soft, and with our knees tucked under we watch the silver screen. Sipping on hot chocolate we recline to the world where dreams are made.

Elsewhere a mother lays awake tormented by the same monsoon that I find so ethereal. It colours my mind while painting hers black. It gives me the luxury to close my eyes and dream. Meanwhile she has not even to sleep to experience a nightmare. Her mouth dry, despite the abundance of water, she tries to keep her children dry and her home standing by day break.

Whilst we drink tea and think nostalgia deep; another drinks the same milky richness unceremoniously. Resisting the showers they are the chaos that squats in this city: they belong to no one and everyone. Overflowing buckets brimming to their tops is their annual tragedy.

The clouds hold songs of promise for all those who hear its music. Gently they roll in to gush and pour their hearts out. To sing with them, dance with them and let open the dams of our most buried emotions; rain is the passion of the skies. If you lived in a desert dry it would be your saviour.

Tea Bowls

Stoneware with Stone Inclusions
Anagama Wood Fired Cone 12

Tea Bowls: Wood and Salt Fired

Silhouettes Converse Series 1: 'Moonlight in Vermont'

Porcelain Cups & Stoneware Plates
Oxide Washes & Brush Work
Ash Glazed & Gas Fired (Cone 10)

Spring Equinox

March 20th 2009 7:00 am
Nowrooz, Spring Equinox
Year of the Ox
South Mountain, Virginia

















This tea bowl inspires a hot cup of green tea on a nippy spring day. The clear watery freshness of the celedon glaze and the richness of the wood make me want to run around a may pole. Yes with cup in hand!

Duo Exhibit 3rd April - 5th May 2009

A duo exhibition of my Sculptural and functional Wood & Salt fired works alongside Diane Patson's paintings.

Ceramica Multiplex Catalogue

http://www.avicam.com/downloads/Catalogue_CeramicaMultiplex.pdf

Ceramica Multiplex: Third International Festival of Post Modern Ceramics 2009

Over 600 applicants applied for the festival of which 180 were selected.

"The greatest and most important ceramic manifestation in Croatia will take place from April 18 till May 17 2009 in the City Museum of Varazdin and other places in the town. It will be held under the patronage of the Croatian Ministry of Culture and the Varazdin City Council."

Contemporary Ceramics in Pakistan can be compared to the struggle ceramic arts faced in Europe more than half a century ago. Platforms for exhibitions, festivals, and initiatives such as Ceramica Multiplex which are open to International Ceramic Artists are scarce. These are vital for artists growth, public awareness of the material, its historic richness and contemporary expression. Such initiatives also serve as as a means for creating outreach, community and the development of the ceramic art movement.
The Western Ceramic Art Movement began in the 1950's and the material, clay, has since created a space for itself in galleries, museums, universities and workshop spaces.
Pakistan, hopefull will catch up. A number of ceramic and clay artists have been exhibiting their works, hosting workshops and working towards creating a public awareness of clay: the material, it's diverse nature and varied modes of firing. I have hope!
"Sowing Seeds": Selected Piece for the International Competition
October 2008
Woodfired Porcelain
Cone 12
Wheel Thrown & Altered
Natural Ash Glaze & Sprayed Shino

Free Forms: Chrysallis

Hand rolled slabs of clay, gently folded on to paper molds transform the clay into sensual sculptures. Innuendos and connotations symbolize forms reminiscent of coocoons bursting, ovules, seeds bearing life forms, skin, feminity, sexuality. These works celebrate sponataenity, sensuality,bursting forth, shedding skins, rebirthing, renewal, softness, roundness.
A works in progress, i began free form sculptures while at Bennington during my senior year (2003-4). The mood and texture of the pieces were similar, however the approach in process was different, in turn affecting the outcome. Years later, i have revisited the concept and altered the process to give voice to these pieces.

Free Forms

Heavily grogged stoneware with iron and manganese slips. Hand rolled slabs are gently draped over paper molds to create these soft sculptures. I am trying to achieve movement, a feel that the clay is still wet, and a skin like texture. These pieces shall be fired in a wood kiln with minimal glaze application to retain their raw quality.

Silhouettes Converse: 'Moonlight in Vermont' Series

Some stoneware plates to go alongside my sculptural works at an upcoming exhibition. They have made with hand rolled slabs of clay which were then draped on wooden molds. Red Iron and Manganese slips have been used for the brush work, and i plan to high fire them with a copper ash glaze.
“Moonlight in Vermont” takes me back to the intimate spaces in the Green Mountains where everyone on campus had a desired spot for their rendezvous. Late at night just as one could see the shadows of trees in the moon beams, couples and groups of people could also be seen silhouetted in the distance. These pieces are an exploration of a time, place and space unique and irreplaceable.

Maati: International Terracotta Exhibit Delhi, India

February 21st-28th 2009
Over a 100 participants from across the globe contributed towards "Explorations in Terracotta" hosted by the Delhi Blue Pottery. As a Pakistani artist, the opportnity to collaborate and maintain dialogue with Indian artists is very important; mainly due to the the political climate bewteen the two countries. At constant odds with each other, as nations, not to forget the heinous negative portrayal in media, India and Pakistan are the ultmate Tom & Jerry Show!! However, as a people am sure both know deep in their hearts we are cut from the same yard of cloth and created from the same lump of clay. Artists have the ability to contradict the norm, reveal the flip side of varied situations, and Maati is a testimony to a joyful collaboration between Indians and Pakistanis, amongst other countries participating in the show.

Sacred

"The breeze at dawn has secrets; don't go back to sleep
You must ask for what you really want; don't go back to sleep..."
- Rumi

Cyber Exhibit: Vasefinder Nationals 2009

Vasefinder Nationals recently took place as a cyber exhibition and competition. I was invited through a fellow artists recommendation to participate and found the format, initiative, and event overall delightful to experience. Seeing the works online and awaiting the results holds an air of mystique, as well as chnaging overall experience from a gallery and physicl space to a cyber world of instant clicks and access.
http://vasefinder.com/vasefinder.nats.2009.home.html

Artist Interview: From Earth to Stone by Kiss of Fire

An interview i gave for SoCal Potters Blog.

In Dialogue

As a Visting Artist at Arkansas State, i experienced an intense two weeks in an extremely supportive environment. Bill Rowe Heads the department and his ceramic works are strong in form with playful elemnts added through slips and oxides. Turtles crawling off a platter and plate make one smile. At the moment Bill mainly works with neon lights creating conceptually charged works in neon signage. Slogans and titles, they all are familiar. I wish i had some inages. I guess you will just have to look it up:-)
Using materials in the studio, Bill shared with me some of his personal clays and slips, and arranged for me to present my experiences with clay in Pakistan, for the Art Department at Arkansas State and University of Memphis. It was insightful to get a taste of an academic environment and studio art. Mainly an Independent Artist, i have taught workshops on occasion; doing demonstrations, firing the kiln, and adding energy to the studio dynamic has piqued my interest in teaching. Thank you Bill!
Works created as a Visiting Artist at Arkansas State University
Wheel Thrown & Altered
Salt Fired

Artist Residency ASU: Salt Firing

November 2008

Firing the Salt Kiln built by Bill Rowe, Professor of Ceramic Arts at Arkansas State University in the early 80's. Joey and Kelsey helped with the firing making for an extremely memorable experience. Thank you.

Artist in Residence/Visiting Faculty: Arkansas State University

Artist Shazieh Gorji visits Department of Art
"Artist Shazieh Gorji is a visiting artist in the Department of Art through Nov. 21. Ms. Gorji presently resides in Pakistan, and graduated from Bennington College, Vt., with a bachelor's degree in Liberal Arts and a concentration in Visual Arts-Ceramics. Gorji worked in the ceramics area from 10 a.m.-3 p.m. each day while visiting ASU and has given a number of presentations to interested students and the public. She lectured on contemporary ceramics in Pakistan, wood-fired kilns, and her ceramic works. Shazieh Gorji has exhibited her work internationally (in group shows) in London, Pakistan, New York, Vermont, and France."



November 10th- November 22nd 2008
Ceramic Department
Arkansas State University

TACIT SECRETS 11

Wheel Thrown Porcelain
Anagama Fired

Whiskey Flask

Wheel Thrown Porcelain
Sprayed Shino
Anagama Fired Cone 14

Once In a Blue Moon

Wheel Thrown Porcelain
Cobalt & Shino Glazed
Anagama Fired to Cone 14

Tacit Secrets

Wheel Thrown Porcelain
Anagama Fired

Celadons and their Guardians

Wheel Thrown Porcelain
Anagama fired to Cone 14 (approximately 2500 F)

You Talking to Me?

Detail
October 2008
Wheel Thrown Stoneware
Woodfired Cone 12
Natural Ash Deposits & Sprayed Shino

Kamataki: Firebox

Kamataki: Ki-Buta

October 16th 2008










Ki-Buta is a japenese technique entailing very slender pieces of wood being fitted into teh door of teh firebox, at the last hour of the firing. It is also known as Wooden Door. We repeated five cycles of Ki-buta, and each released magnificent liht shows through the chimney for an hour. Flames erupted like I have never before witnessed! The pictures did not capture the reality of teh ending. It was a pure fireworkswhich we hope manifested the results we aspire to achieve. The firing was tricky, as there was a point when too much wood was being thown in, in turn sucking air into the kiln and not releasing enough flame, and reduction. We were walking on thin ice; we hope to have crossed the Bridge to Paradise with Kibuta.

Fire Fungi After the Rains

The rains brought with them fire fungi I have never seen before. They were a good omen.

Kamataki: Raking

 

 

 

 

 

 

 

Kamataki: 50 hours

 

 

 

 

 

 

 

 

Started todays shift with a burst of Celestial Light. It was a glorious day and having moved the day before to the upper grate I got to stoke in a different manner than what i am familiar with from past firings.

Kamataki: 24 Hours

 

 

 

 

 

 

 

 

 

Kamataki

 

Our Offerings

 

Campfire outside the kiln

 

Joe thanking us for being there for the firing

 

Offering Saki to the Cave Light

 

And we toast to Kamataki for 8 and a half days