The Process

First, I set aside a block of time I can work without distractions. I gather my tools, my energy, and head to the studio.

On a throwing day, I weigh the clay and pound it into balls. Sometimes I reuse clay that didn't make a successful pot the first time. This clay I need to wedge, or knead, to remove any and all air bubbles. Then I sit at the wheel, kick it around, and throw my pots. I need a steady hand to bring the walls up. Blending the shape you have pre-determined with the will of the clay is a practice that requires focused attention.

After the pots have sat, usually overnight, I can turn and trim the bottoms, and stamp my mark on them. I pull and add handles to mugs, stems to goblets, and knobs for lids. If I am going to carve or sculpt on the pots at all, this is also the time for that.

Then more waiting. Once the pots are considered "bone dry" I can fire them. I load the kiln for a bisque firing. This makes the pots strong enough to handle for glazing, the next step in the process.

Glazing can be done by dipping, brushing or applying a combination of techniques. Depending on the detail, this can take much more time than any of the other steps.

Then, I reload the kiln and fire this time at a temperature nearing 2200 degrees. This is the final firing. If all has gone as planned, I have a pot I can use, sell, or give as a gift. Sometimes, though, there are those that haven't. In either case, I know I'll be doing more kicking and throwing in short order.