oy (604) 683-9623 Potters Guild of British Columbia 1359 Cartwright St., Granville Island Vancouver, B.C. V6H 3R7 NEWSLETTER APRIL 1992 ISSN 6319 812X SALTWARE REVIEWED Gorden Hutchens started working in saltin 1968, ard has done s00n Denman Island steadily since. He continues to work In raku, porcelain and reduction, and more recently, in low-fire earthen- ware. He used to fire “L.A. casual”, with soft brick, and chucked in the salt very freely. Since [979 when be built a Hghter kiln with alumina-washed walls, he has been using much less salt, but gets more desired effects on the work be- cause of the tightness of the kiln. He is currently playing with stacking the kiln as part of the process of glaze “following fire” In the vapour firing. Gordon also uses a combination of salt and soda. oO Oo o “have always had a passion for making pots, preferring the quiet and under- slated integration of pieces that evolve from sall and wood kilns. Magazine pic- tures of salt-fired pieces by Don Reitz years ago had a tremendous impact, and still do, Fortunately a close potter fiend, Lynne Johnson, has a similar passion for salt firing and « bong-lime dream has become a reality. We have been finding our way with with salt for a couple of years now and each firing gives ua more Information and experience. David Shaner stated, “A ceramic artist working today must be a soul in search’. and quoted Joseph Campbell, “Learn to follow your work and you will be given a map te guide you." The process of applying a glaze over the clay often results with a surface sepa- rate from the plece. My feeling is that the clay liself needs to be experienced, and that the applied surface should be a essenUal part of the whole. Both plaze and clay body should interact during the process of firing and come alive in one “essence, Introducing salt when the clay body is open to receive allows the clay itself to interact with the regen- erating power of fire and salt. Many cultures have long understood how to work with, rather than on, their materials, David Shamer believes these “qualities reflect an affinity with naturalness rather than a mechanical ecparatiion with nature.” Among other inspirattonal sources, trips to Arizona, and the home of the Anasazi, have helped clarify a long sought-after idea] in working with clay that [ am just now beginning te perceive. Magic can happen! Learning to perceive the potential of this process and to grow are challenges that will continue to consume me for years to come, = Cathl Jefferson North Vancouver Jndem- Hf hteKa Ss oO o o "My interest dates back to my love for the old Jugs and crocks that | grew up with at home. | was reintroduced to salt Blazing in the 70s while living in the US midwest, so when [ started potting my- self. | knew what my uliimate direction and goal was. | bulltmy 27 c.f. car kiln out of hard bricks, and aftera number of years firing in reduction, | met Cathi Jefferson and started salt-glazing with her in 1990. Six pounds of salt and four pounds of acda are mixed with sawdust, and threwn in with a bit of wood for goad luck. = Lynne Johnson Courtenay (Contirased an Page 5)