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Following the kiln building workshop and Gail Nichols' soda firing workshop, I settled in to making some work of my own. I had little time, and no pressing exhibition to prepare for, so it was a rather relaxed, explorative, and playful stretch of time. 


I built three groups of work: lamp/lantern forms, arch forms, and tiny botanical forms to be paired with roughly-made slabs as bases.


Having used every clay the studio produces, I planned to fire all of it in the soda kiln, without slips or glazes. In fact, though, I was only able to complete a single firing with Hillary and Sally (Gaya CAC's director and intern respectively), and so left the majority of my work behind to be fired at their convenience. Some of the work will make its way into the anagama firing planned for December, and the rest will go into the soda kiln as enough other work accumulates to fill the kiln. 


It's such a pleasure to work in the Gaya CAC studios, and by now, I feel like they are family. Stay tuned, because I am scheming my next trip to Bali...


Oh, hi, I didn't see you there...Just caressing my sculpture over here.

Arch in progress.

Scalloped lantern, unfired.

Latticed lantern, unfired.

Lattice lanterns and hanging lamps, unfired.

Arches and Hillary's very elegant towers in the kiln. You can see, with work of this scale and odd shape, how it would take a lot of smaller work to fill the kiln and justify a firing. We were in need of more small work, and that's why we couldn't fire more of the big stuff before I left. 

The beautiful Hillary Kane, in her natural habitat.

We fired using Gail Nichols' techniques, and scheduled our firing
 along the same lines as her firings, with a reduction water cooling.


Tinies, warm out of the kiln. No slip or glaze.

A few of the tinies paired with their slabs.

My arch form made from Gaya's raku clay body. Incredible flashing.

Oh yes, and I made a few vases as well. This is Gaya's anagama clay body.