Being in North Carolina the past couple months has brought many joys to my practice, one of them being my interaction with Anne Pärtna. After assisting Anne in firing her bourry box wood kiln, she asked if I’d be interested in a “Transparent Firing.” At first, I was confused about the process. What did she mean by transparent? In talking about the project, she emphasized that it was an idea conjured by an Estonian artist, to generate discussion about the magic of wood firing. In the past, it has been a crissoning of sorts – a firing filled with tests and group efforts to celebrate the success of a kiln build. Once the firing is complete, the work is tediously documented and arranged just as it was fired on glass shelves. Without being encased by the bricks of a kiln, a full 180 view of the stacks is revealed. This allows for observations to be made about the work and firing process in a unique way. Even though Anne has fired this kiln many times before, STARworks requested her to organize a “Transparent Firing” for the Woodfire Conference as a way to generate conversation about fire paths and flashing amongst commingling pots in a firing.
In being asked to join the firing, my goal was to include some tests as well as new forms to remain in spirit with the original intent. From the last firing, I had uncovered some potential foaming clay recipes which I then am using in this firing to create some handles for cups. Taking this next step and enlarging the scale of the test is needed to move forward for this line of research. The same was done with an okeeweemee based glaze. This recipe makes me really excited because it is another way to utilize the color of the clay on a pot. Contrasting texture helps to make the work more dynamic. In terms of glazes, one of my goals was to transform a glossy blue glaze of Anne’s to be more satiny matte. By utilizing the Stull Chart, I was able to reformulate it and keep the ingredients the same. The results are displayed in the form of an 11-step line blend with the 6th step being represented on some pots. Another test I had in the kiln reflected the use of Alfred shale. While the shale vitrifies at cone 1, firing it to 10 will theoretically melt it to the surface of the pot and maintain the gravely texture. I rolled a pot in it and played with this texture on some of my slab handles as well.
As far as experimenting with the form of my work goes, for this firing, I made a party tray, new pitcher forms, and some cups with funky coasters. Playing with the idea of multiple pieces coming together to serve one purpose remains a source for questions in this department. By applying the experimental glazes and and potential foamy clay to the work, this firing will be a good merriment of my research conducted at STARworks so far.
While my hope is to see these pieces come together, this firing is mostly about the community and revealing results as a team. By firing with each other, we can grow together. The collaboration began during the prep time – cutting wood, grinding shelves, and cleaning the firing vicinity – each person responsible for a task. From there, Anne led the loading process and meticulously photographed every shelf, as filled, in order to aid in the set up post-firing. Once the door was bricked up, shifts began and discussions were had. Talk commenced about the clay deposits, kiln designs, and an evolving art culture between artists with different backgrounds and knowledge.
After the firing finished and cooled, the unloading involved more documentation. While Anne took photos to help reference where works were positioned in the kiln, she also drew a diagram in case a shelf was missed. From there, each shelf was designated a box to wrap the work and transport it to STARworks for the installation process. Glass shelves, bricks, clay for wadding, and grog were also taken with the work as preparation for the exhibition. While half of the team helped unload and package the work, the other half installed. I was part of the packaging team; however, the boxes made it safely and the work is now displayed on glass shelves for observation and note-taking opportunities. Not only is it helpful for the makers, but it is also a conversation starter for those not involved in the firing.
Overall, I am very happy to see the work in this format, and am interested in conversations to be had. Woodfire NC is just around the corner! Only a week left! Having experienced this unique set-up and idea of firing, I’d be interested in executing another “Transparent Firing” exhibition when I return to New York because I will be teaching at Wellsville Creative Arts Center. My only obstacle at the moment is finding a kiln to fire in. Through reaching out to the broader community, I’m hoping to make a connection with an artist who has a gas kiln in order to facilitate a similar event in the future. Bringing the knowledge I’m gaining through researching the clays in North Carolina, chemistry lessons can be taught as well as ways to expand upon the form. I’m very excited to implement these ideas during my class and learn from my future students.
Emily Fedorchak 