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(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)