Highlight of Huntingdon

This past year, I've thoroughly enjoyed my time in Huntingdon, PA at Juniata College.  I've learned a lot as a teacher and as an artist, but I think the highlight of my time spent in Huntingdon was having the opportunity to fire with Jack Troy and his trusty team, at his home studio in Huntingdon.  The following images are from the second firing of the "Pixigama" in March, a small but still sizable kiln that a team of nine ceramicists and enthusiasts collectively fired over a period of five days.  Kiln-side conversations sparked new friendships and a never ending stream of engaging conversations.  For that, I'm ever grateful and will miss this firing crew as I head to my next ceramics adventure.  I'd like to extend a heartfelt thank you to Jack, Carolanne, Lynn Anne, Eileen, Mike, Nick, Kyle, Rob, and BJ.  Happy firing to you all!

Kiln Shed

A view of the kiln shed and glazing area.  We all brought some glazes to share and test in the firing--part of the fun is experimenting and letting the kiln work her magic. 

Kiln Shelves

The work

When bringing work to a wood kiln, they always say "tall skinny things will make it in".  For the most part, this is accurate.  The nature of the wood kiln and loading requires one to think like fire and flame; to design a flame path that leave desired marks on the pot.  Tall narrow pots, like vases, will help fill in and break up what we anticipate to be the flame path, hopefully leaving some sassy flashy marks.

The Work

These are some of the larger pots destined for the kiln.  These are great to lay on their side to fill in the crown, or the top of the kiln, filling in the arch and forcing the flame to move down and around the other work.

The Captain's Seat

Loading a kiln can take any where from one to three days, depending on the size of the kiln, number of kiln minions, the size and amount of work, and how methodical you are when it comes to loading. I learned a few new tricks of the trade watching Jack load the Pixi. 

Directors Jack and Carolanne

I was thrilled to have been invited to fire with two of my ceramic-idols!

Loaded Up

It took us two delicous potluck brunches and much muscle to load up the Pixie.

Bricking Up

Jack bricking up the side door which we would later cover with slip and newspaper.  This was also the trial firing for a new "groundhog" grate system Jack and Kyle worked on to allow more airflow to the back of the kiln.  

Night/Morning Shift

This was probably the least stressful firing I've been a part of.  Our shifts were three hours long and there were enough of us that we'd be on every 12-14 hours--meaning we'd have plenty of time to rest, teach, eat, and repeat!

Kiln Guardian

Miss Tikka probably pulled the most shifts of all of us which meant she deservedly got the best seat in the house.  

Stoke

Jack raising the door for Mike to stoke.  In Alaska, we have antlers for door handles, in PA we use a cow humerous.  

Flames and Stack

Raking the Coals

Nick raking the coals to create loose ash that would circulate and draw through the kiln to create a glazed surface on the work.  This also helps the air flow to allow for the kiln to get hotter and burn more effeiciently.  

Stoke

Eileen and Lynn Anne take a turn feeding the beast.

Fired Work

Opening the kiln is like Christmas.  Every pot is present.  The surface and information gained from each piece is a gift in addition to the finished pot.  

Finished Work

So many gems from this firing!

My Gem

This was my favorite gem from the firing.  It's a red stoneware body that flashed beautifully in all the right places.  Thank you, again, to Jack and Carolanne for this learning experience.