Shut up and cook. As you know, it’s a well documented fact that a cook am not. As a reminder (those were dark days boys, so don’t laugh too hard, and girls, don’t tsk at me. I believe in the equality of genders, so there’s no such thing as girls should know how to do something) there’s the time that I made an egg explode. (I’ve also burned a number of other meals but this one sticks to my mind like bad breath to the morning after drunk)

Now, it’s not well known to everyone in the populace that if you put an egg in the microwave…it will explode. (hey, I wasn’t a fan of Mythbusters until much later than that) Being that am not only rough with my words, a jealous woman that will snap at anyone looking my way a bit too long? (I’ve being known to embarrass those that stare too long), don’t always play nice, love to explore, have adventure, and just be out and about (I don’t do crazy things like get involved with men. Nah. I don’t need men to have fun. Never have. Just one actually.) the town. I’ve being known to make a chemistry experiment out of the kitchen.

Boy. Those were the days, when I could have access to a number of chemicals and I would simply do searches in the library or online…for arcane alchemical recipes…and brew myself up some weird stuff…for my ceramic sculptures of course. I had some stuff that was great, and some that just bombed (not literal) on me. I must admit though that I never ruined anyone’s work by including ceramic clay that was in danger of melting at the temperatures that I worked with. My stuff had what it need to go hotttttt.

My work? It was on the high fire “cone” area. Meaning. I always worked in the 2000 and above degrees farenheit area. There’s lots of stuff that is “fired” or “cooked” for the layman, way under that temperature range around the 1600 – 1800 range. You think that’s not a big difference? Tell that to the melting pots inside the kiln (oven for those that don’t know the correct technical name: KILN.) When clay reaches a point above a certain degree…it MELTS, and that degree depends on the chemical contents of the clay itself.

If you saw that clay…ooooh weeee. That was beautiful. It was like staring at molten lava (in the red hot state) taking and keeping a shape. Beautiful. I think that’s one of the reasons why I fell in love with the process of doing “RAKU”. Which is a Japanese method of “firing” ceramic ware where you would heat up a piece to a point where the piece has reached that red hot state (literally) that I described, and it’s then taken out and placed in a container full of “burnables” (items such as paper, leaves, sawdust, whatever material you have that is going to combust …without explosions please… on contact with the ceramic piece) and we would let the magic begin.

Seeing how I was into playing with chemicals? I would do research and find again obscure recipes to mix and play around with. All to make and play with FIRE. Yep. I can’t help it perhaps I was a pyromaniach in another life. (LONG PAUSE) Ok. I left this blog for about an hour, I’ve being trying to find samples of my old Raku work but I couldn’t find any. What I did find was some interesting things that will come up in the next blog.

But back to the subject at hand. So I would mix myself some interesting batches of sometimes VERY toxic stuff (it’s a wonder am not as green as my moniker would suggest) all in the name of making ART. I loved that. So the process involved putting in the pieces glazed (a covering of chemicals which will melt into usually a glass like consistency and meld with the piece) already and letting them reach the red hot state.
At that point (with MUCH peeking through literally PEEP HOLES) I would put on fire retardant AND heat resistant gloves and an apron: take a hold of LONG tongs and do my thing.

What’s that? I would open the kiln (remember RED hot fire going on) and reach inside with the tongs and take out my piece, and drop it into the bin with the “burnables” (usually newspaper) and seal it with the lid. What was the purpose for sealing it in? Well, one of the tricks of RAKU? It’s that it’s literally smoking out the piece, but also you’re letting the heat of the piece draw out or should I say draw IN chemical changes (due to the burning or depletion of leftover oxygen inside that controlled environment, the heat of the piece would literally start drawing out chemical oxygen from the the “glaze” itself thus inducing a change in property…and color) that would bring in COLOR to the pieces that you would not usually have if you went to regular temperature (to the highest point and then slowly brought back to normal room temperature). Doing RAKU was a process where you took a ceramic piece through temperature shock. From 1600+ to under 1000 in a matter of minutes.

Raku at night…just right for you to see the intensity of the heat. Remember RED HOT HEAT? Love this process. It was exciting waiting for the stuff to cool down, open up the cans…and tadddaaa, you (if you did your job right…) had beautiful stuff to show off.
That’s quite a hit, and also a means of getting fantastic looking results. I loved that…plus it WAS quite a thrill playing (though it was no laughing matter, and it was quite dangerous) to do. For a time, I took up the blowtorch as well, but I could never figure out the correct mix of Oxygen/Acetaline and I figured if I was going to be playing with fire (always have, I think I always will, part of my personality) it was going to be with a process that I understood and already loved. Now? Arc Welding? That was fun too? I would turn on the AC/DC thing-amo-bobs and go at it with huge chunks of metal that were spread around the welding yard.

I don’t think I ever kept anything that I did in welding class (I wasn’t that good to begin with) but it was quite an exciting thing to try out.

So you must ask yourself? What does exploding eggs…have to do with the mechanics of a well made piece of ceramic sculpture? The fire element of course. Plus there’s the fact that in a way that’s the “COOKING” I learned to do. But anywho, I exploded an egg in the microwave. Hey, I was hungry, and since I refuse to EVER demand of others what I won’t do myself (cooking for example) I figured I’d do it MYSELF. Seeing how I am not a friend of the kitchen…I resorted to the trusty microwave. I tell ya’ll where was Mythbusters when you need them? Hmmm?

I thought. Geee, if the egg needs water to be cooked in the conventional stove top…I figure I should ALSO put it in water in the microwave. MISTAKE big one at that. In it went for 2 minutes. And an additional 2 more (just in case I thought). Enough for the water to boil…way over. So, uhhh, I took it out, and as hungry as I was I didn’t even consider getting rid of the water first. NOOO, I had to go and tap (gently) the eggshell.

And all hell broke loose. That freaking egg (am being polite here, I wanted to say !@$@%# egg) exploded. Being that it was in in super heated water (certainly felt like it) when it went sonic on me, it took the water with it, right into my face. AWWWWW shit. That burned like nobody’s business. I screamed like you have no idea (ran to the faucet and pushed my face under the cold water, but even that didn’t mitigate the pain for long), and only thanks to my parents having some “strong” Burn patient “stuff” I would likely have ended up in the ER getting my face scraped clean (eek, I don’t even want to think about it, seeing how I’ve witnessed…on tv, the burn patient methods of ministering there are).

So the “stuff” worked, but the burn still made half my face bubble up. Yep. Not that you could see it under all the goo I had to wear to relieve the burning pain. I suffered through that for a couple of weeks. I don’t wish that on anyone, and I have an extreme amount of respect for those that have actually suffered disfiguring burns…Not a happy place to be at.

There you have it. So. Today, I was a brave soul and I took up the kitchen again. I cooked all by myself. Crepes. (actually am pretty good with crepes, I can and always have being able to make those from scratch) plus a teriyaki chicken hybrid of Arroz a la Valenciana which is Valencian Rice: a traditional Spanish…the country…recipe…from leftovers I found. Hey I made it new with what I added, and changed.

Hercules, hercules. Am so accomplished today! I need a merit badge, if only I’d ever bothered or being remotely interested in becoming a girl scout. Nah. Why? Because as contrary as I am? I’d likely would have demanded to join the BOY scouts. Ha. Didi I ever tell you I use to throw away the piece of crap plastic dolls I got? Hated them. I wanted me a tonka truck, and (Santa was a twisted old man or he was more deaf than a piece of falling wood in an empty forrest) I would always end up with crap like barbie this, barbie that.

Ok. That’s it. Am done. No more Cooking or Barbie Rants. I still love the fire stuff though. Oh, and don’t worry I type super fast, so what would be HOURS for some…is only about 1 or a bit over for me. (In case you decide to complain about my long entry.)

Stay in touch, and let me know what you think. – Jezli Pacheco – jezli@yahoo.com

…DE fata :x:x

ai flow, nu gluma

ps:pt cei care ma tot intrebati cine e tipa, am mai jos o galerie foto cu ea.Se intituleaza GANI si colaboreaza cu rapperul RAKU

have arrived! I found some beautiful lampwork glass beads from fellow Etsy vendors Cottagecove and glassaddictbeads, and have already completed 2 new earrings. Photos will come soon – I loaned my camera to my friend.

Cottagecove makes beautiful beads that she calls raku – swirls of color and random patterns abound and are more striking for the simple design of the beads.

raku lentil glass beads by Cottagecove

glassaddictbeads are also striking – the patterns running through the lampwork look like flames, in brilliant shades and the beads have a nice heft, so that they will suspend nicely.

satori beads by glassaddictbeads

I already have more designs running through my head for the beads, I just need to find the right gems!

Oi. It’s been a week since I got back from Bali, almost, and finally, a chance to catch my breath I had the most amazing time at a raku workshop – for all of two weeks, it was non-stop making and learning and firing and smoke. All this was accomplished in the best of company – there were in total 6 of us at the workshop from far-out corners of the globe, with three of the most passionate and knowledgeable teachers ever – Marcello (throwing sensei), Michela (glaze sensei) and Hillary (all-around sensei and world-traveler) at GAYA Ceramic & Design. I am still reeling from the massive amount of information I’ve absorbed, and itching to get my hands in clay to practice what I’ve learnt All this workshopping was sustained with some excellent two-hour lunches at the GAYA restaurant, mostly Italian and some local fare, and delectable cookies accompanying coffee. We even got to see a bit of Bali on two days out, bouncing over narrow roads with views of ricefields and mountains to take your heart away.

What I will remember most fondly though, is the utter sincerity of the teachers in conveying their knowledge, and the inspiring space all of it took place in. The factory space downstairs was FILLED with beautiful work, all handmade by a troupe of the most cheerful Balinese boys to incredible finish and precision. The space we participants worked in was completely equipped, a bamboo plateau open on all sides to let in sun and wind. Bliss! No wonder I was so bummed out on coming home…

Hillary, Marcello & Michela talking glaze and rrrraku

Mixing glaze with a TOILET BRUSH effective

Learning about 'naked raku' with Michela. Many of us spent whole afternoons burnishing patiently away with a little bit of coconut shell or a black marble pebble to get the perfect surface for this effect.

Playing with fire and smoke: Marcello demos some of the combustible materials used for raku. You can see the kiln at back.

Like performers revealed on stage, the gleaming hot pieces are the centre of attention!

Making stuff to fire in the workspace... look at those shell bowls Hillary is making...

This is where I was throwing...

It wasn't all work... we saw some beautiful sights. HOWEVER this guy asked us to take a picture of him... and then asked for money -_- disgustos.

Some of the objects I made yayyy

One reason I enjoy primitive firing processes is the glorious unpredictability of the results. In giving up rigid control over my work, I am blessed with beautiful, organic markings that are completely unique and impossible to reproduce — markings that reflect the richness and diversity of the universe.

In a pit-firing, the vessels are surrounded by flammable material, and then a fire is built on top of them. The surface of the vessels is marked by pockets of hot gas that form in the heart of the fire. (Some potters smother the fire to concentrate this effect; I prefer to let it burn down unhindered so that some vessels are exposed to air and others are buried in the ash.)

Here are some of my favorite pieces from a recent pit-firing at my in-laws’ house in Indiana. My apologies for the mediocre photography.

It has taken me a long time to to embrace that lack of control. When I first began sculpting, I agonized over every part of the process, polishing and fussing and worrying in a vain effort to make everything “perfect” — exactly as I pictured it in my head. It was a good way to get really excellent at my process, and some of those early pieces were very beautiful.

Yet in time, my own head simply began to seem too small; too finite and predictable to express the wonderful serendipity of the universe.

The first place I began to let go of control was in my drawings, as I began to use water, smoke, powdered pigments, and other unpredictable materials to create richly organic markings. Later I fell in love with the loosely-controlled firing methods that would create similarly rich markings on my ceramic work: raku-, saggar-, soda-, and finally pit- and barrel- firing. In addition to producing beautiful results, these processes felt better to do. I wasn’t desperately wrestling against the materials and process to force them to do my will, but working with them in cooperation and dialogue. I was co-creating.

“Co-creator” is a word that my undergraduate mentor, Rudy Medlock, used all the time. A man of deep faith, he never let his students forget that we weren’t just making art for fun or for a class, but that we were actively participating with the Creator of the universe. It’s an idea that has steadily deepened for me in the years since then. There is a vast difference between knowing something in an intellectual or religious sense, and stepping into it as a personal experience, both vibrant and transformative.

That’s what unpredictable processes are to me: a chance to eagerly and playfully cooperate with the Creator and with the universe itself — the richest collaboration of all.

I attended a raku workshop yesterday – it was fabulous! Unfortunately, I only learned about it Wednesday night, so I had no time to prepare my own piece. But the girls had prepared a few extra bowls – thanks!

I have always been fascinating by raku fired pottery: organic beauty,  unpredictability, stunning colors…

Here is how it works:

A gas-fired kiln is heated to 800-900 degr. Celcius. The temperature needs to be monitored, since it cannot be predicted when it will reach the right temperature. The first kiln took 2 1/2 hours to reach 820 degr. C. Then things need to move fast: the pieces are quickly removed from the kiln and put aside to cool down a bit. This is aided by blowing on the pieces. They are then lowered into a metal bucket filled with paper. The paper ignites and there needs to be a good flame going before the bucket is closed. Smoke develops, and as the paper burns, the carbon created stains the part of the pottery that is not covered in glaze. The glaze itself cracks, and the cracks also take on the carbon staining. From time to time the lids are lifted to see if the flame is still going strong.

Periodically, the ‘crackling status’ is being checked. If the potter is not yet happy with it, the piece is returned to the fire bucket. Once s/he is happy with it, the piece is taken out to cool down a bit. All the white unglazed parts will have turned a deep black, and the glazing colors have not yet taken on their final hue. The final step in raku firing is the plunge into a water bucket. You can hear fine hissing and crackling sounds as glaze and clay make their final transformation.  Now all that needs to be done is use some elbow grease to remove grime and ash deposits, and the raku pottery is finished! What amazing results have been achieved! As you can see, even some of the artists are surprised and delighted how their pieces turned out!

Hrmmm. Not sure how I feel about the word ‘hubby’, but today I am just giving a lot of thanks for my great husband, who heard I wasn’t feeling all that great and skipped football to bring me the most yummy soup- Tokyo Soup with Udon noodles and Shrimp Tempura from Bethesda Raku.

Soirée de fin d’année samedi 19 décembre.
Comme d’habitude chacun emmène un petit quelque chose!

Dans l’après-midi Raku, cuisson dans la soirée sous les etoiles (si il y en a)
Prévoir une participation de 15 euro pour le Raku

This is what I’m up to these days. Just insert whatever music you’d like.

Alpaca loft maintains itself...even throught the felting process! *cue angelic chorus*

Patiently waiting in the Kiln Queue. The one with copper filings will be dunked in vinegar just out of the kiln in the grand tradition of ancient french manufacturing of Lake..... hahah.....yep.

My first real foray into kyak design. With Sharpies.

A scratchboard tribute to the everyday via film noir.

First semi-successful raku firing! I'll go into it in greater detail later for the benefit of those who would but know not how....the blind leading the blind...

Looks like an old bronze.

Not sure if that's how it was supposed to go...but I like it anyway...

This weekend I’m headed out to Savannah, GA, to be at my dear soeur’s thesis show. Never been to Savannah…I plan on taking lots of pics and posting the best of the best. And a pic of Soeur + Sweater! Look forward to it!

 This strange , organic teapot really captured my imagination . This Raku ceramic, called  ‘Wild Goat teapot – Homage to Paul Soldner’  is by Nina de Creeft Ward from The Beatrice Wood Centre for the Arts.  I don’t know who Paul Soldner is, I just hope he was pleased with the wild goat reference!  This teapot reminded me of a painting by Spanish artist and Printmaker Francisco de Goya’(1746 -1828).  The painting goes under several names;  ‘The Great He Goat’ or ‘The Coven,’ or ‘Witches Sabbath’ in 1820 -23.  The painting  shows a number of grotesque witches at their sabbath with Satan as the guest of honour.  Some of the faces of the witches are truely terrifying.  ‘The Witches Sabbath’ is one of a series of what is known as  Goya’s Black Paintings.  These paintings were done in later life  (1819 – 1823)  by a very depressed  Goya, after he had survived two near fatal illnesses.  They are dark and full of fear and show the artist’s anxiety.

The artist who the Arts Centre is named after (where the teapot came from) is Beatrice Wood and she was a very interesting character.  This American artist  and studio potter was born 1893 and died in 1998.  In later life she became known as the ‘Mama of Dada’ a movement 1916 – 1922.   I shall be writing about (eventually).  An interesting fact about her is that the character of Rose DeWitt Bukater in the 1997 film Titanic was partially based on her.

I have had a look at her biography, which is fascinating and I must write about (eventually) and have found out who Paul Soldner was.  He was an American ceramicist born in 1921 and his work is quite exciting!  See it on his website HERE

This is what I want to find in my stocking on Christmas morning: raku pottery garden markers from Sweet Paisley.  Choose from a selection of herb names or request your own, all for $4. 

I grow basil, mint, chives and oregano. (Hint, hint. )

Check out the 2009 Open Studios VIDEO featuring several Open Studios artists. Thanks to Boulder Valley Media Alliance and Channel 22!

Yesterday I photographed some of the newest raku pieces of Arizona ceramic artist Joni Pevarnik. She’s one of my favorite clients because we usually laugh and carry on with sheer silliness through the entire photo session. I’ve easily spent six or seven times more money on her functional stoneware and ceramic pottery than I’ve earned in photography fees from her, but that’s OK! Her stuff is fantastic.  We eat off her dishes, drink coffee and tea from her mugs, read books by the light of her lamps & enjoy wall hung pieces scattered throughout the house. These decorative wall plates are examples of raku, a process which uses copper in the glaze. The piece is fired to 1700 degrees fahrenheit then placed in a combustible material. The smoke reacts with the copper glaze and creates the wonderful hues of color.

Her work can be seen at The Artists Gallery and Echo Canyon Art in Flagstaff:

http://www.flagstaffartistsgallery.com/index.htm

http://www.echocanyonarts.com/joni.html

At Wildflower Village in Reno, Nevada

http://www.wildflowervillage.com/artists/pevarnik.htm

and as part of various shows and art sales in Tucson, Arizona. Look for her in Tucson this December 11,12 & 13 at the winter 4th Avenue Street Fair.

Photo copyrighted. Reproduction, copying & file sharing prohibited.

Charles Sherman teapot with six ring infinity

I’ve not put any teapots on my blog for a while.  I have been looking at them though and found several new interesting ones.  This teapot with six ring infinity is more of a teapot metaphor than an actual teapot.   I love the indulating way the ceramic snakes and meanders, tracing the shape.  Sherman explores the pierced form HERE with more Infinity rings.

I put two more teapots in this post (with writing) and it’s disappeared!  This happens from time to time and it is SO frustrating.   I seem to have 2 copies of it, but the wrong one is saved…doh!  I’m going to leave it here now because the time is getting on.  More teapots tomorrow

 

Ich arbeite gerade an einigen kleinen Sachen, Keramikschmuck, Raku-Vasen und auch diese kleinen Fische hier. Ich habe sie zum Trocknen auf unseren Kaminofen gelegt und weil das Wetter gerade so kalt und windig ist, finde ich das Motiv ganz witzig. Die beiden Fische werde ich mit Reduktionsglasur in türkis mit Kupferanflügen glasieren und in Raku-Technik brennen. Und dann wird das eine sehr schöne Keramik Dekoration.

Iubesc trupa asta. Mi-a tinut companie in multe nopti pline de lacrimi, in multe crize de personalitate, in momente de revelatie, in discutii un pic mai tampite sau un pic mai destepte decat ma asteptam… Am facut cunostiinta cu muzica lor in vremea liceului, si ascultandu-i acum imi amintesc cum chiuleam de la fizica sa ascultam cateva melodii de pe un cd tras de la un prieten de-al unei prietene care-i stia… O, Doamne ce vremuri! Versurile sunt un pic dramatice, dar reale… le-am simtit de atatea ori si m-au durut asa de tare… but nevermind

Spune-mi
Am pornit la drum pur precum lumina
Un copil cu scantei in ochi care nu stia ce-nseamna vina
Cautand iubirea si stima
Si cum nu stiam sa lovesc viata m-a lovit prima
Si am aflat ca nu e prea rau sa nu fi om
Sa fii prea om e crima
Si uite asa a picurat un pic de negru in esenta mea
Pentru ca ceilalti nu dadeau doi bani pe decenta mea
Si-atunci mi-am spus, „nu mai e loc de nimic sfant in lume”
Ne pierdem printre ace, fumuri si glume
Facute pe seama celor slabi
Ne nastem sanatosi si-ncercand sa ne vindecam devenim bolnavi
Vezi tu, viata e o strada, slab luminata
Plina de gropi, plina de blocuri, gata sa cada
Ghici peste cine ?
Plina de focuri gata sa arda pe oricine
Plina de ochi gata sa vada orice slabiciune
Plina de prosti ce inca asteapta raspunsul la o rugaciune
Cat despre mine, nimic din tot ce misca nu ma mai misca
Doar ura ma pisca din cand in cand facandu-ma sa strig ura
Si azi o sa ma vand, in rest acelasi praf doar in alt vant
Si nici eu nu mai sunt acelasi
Si nici nu mai stiu cine sunt.

Refren:
Spune-mi, in loc de suflet ce pun acum ?
Am incercat sa ma schimb, nu mai am cum
M-am pierdut pe drum si vreau sa stiu,
Oare-am sa mai fiu vreodata cum vroiam sa fiu ?

Spune-mi, in loc de suflet ce pun acum ?
Am incercat sa ma schimb, nu mai am cum
M-am pierdut pe drum si vreau sa stiu,
Oare-am sa mai fiu vreodata cum vroiam sa fiu ?

Sunt locuri in sufletul meu pe care am fost nevoit sa le-ncui
Macar pentru un moment as vrea sa le pot arata oricui
Si fara sa-mi spui as vrea sa stiu ge gandesti
Iar daca azi e mai greu sa stii ca ceru-i la fel de aproape ca ieri
Si fara sa ceri as vrea sa primesti tot ce meriti
Si fara sa ceri as vrea sa ne desprindem daca asa e sa fie
Chiar daca m-ai facut sa ma simt unu la o mie
Si pentru toate vorbele pe care inca nu le-am spus
Doar un moment sa vezi prin ochii mei ar fi de ajuns
Sa stearga toate noptile in care am plans
Macar pentru un moment as vrea sa vad strazi fara
Vanatori si prazi fara
Ciorditori si garzi fara
Scandaluri si brigazi fara
Sculpturi in carne vie finisate brutal
Fara culturi care mint lumea spre un combat mortal
Fara sa schimbam suflete pe scuturi
Si avand macar un viitor nu doar o mie de trecuturi
Care m-au inchis,
Pot sa trec printr-o viata de cosmar daca traiesc o clipa, un vis.

Spune-mi, in loc de suflet ce pun acum ?
Am incercat sa ma schimb, nu mai am cum
M-am pierdut pe drum si vreau sa stiu,
Oare-am sa mai fiu vreodata cum vroiam sa fiu ?

Spune-mi, in loc de suflet ce pun acum ?
Am incercat sa ma schimb, nu mai am cum
M-am pierdut pe drum si vreau sa stiu,
Oare-am sa mai fiu vreodata cum vroiam sa fïu ?

Versurile isi gasesc rostul aici

Está patente no Posto de Turismo da Praça de S. Tiago, em Guimarães, até ao dia 31 do corrente, uma exposição das novas colecções de cerâmica de Helena Almeida (Enabel). A ceramista apresenta-nos agora os trabalhos que tem desenvolvido em duas áreas muito distintas da cerâmica : o raku e a porcelana. O trabalho de Enabel caracteriza-se por um olhar muito próprio da forma. Por um lado, conseguimos perceber a busca da sua perfeição na pintura dos objectos em porcelana e, por outro lado, uma total recriação dos formatos e sobretudo de análise da cor, usando a técnica do raku. Uma mostra que não deverá perder!

Raku fired on 9/19/09 at Clay Connection in Spokane, WA.
Collaborated work: vase thrown by Jeff Harris, and handle made by Kyle Patterson.

Diseara, ora 20: 30 in Silver Church, lansarea albumului Carbon – Reactii adverse. Intrarea e 20 de lei.  Invitatii sunt numerosi, numarandu-se printre altii: Bitza, Grasu XXL, Armada- CTC, Yolo sau Raku. Din pacate, nu pot sa ajung

Tip: Concert Data: 17 Octombrie 2009 la ora 20:00
Organizator: _Locatie: Club Fabrica
Oras: Bucuresti
Pret intrare: nu se stie inca
Sambata, 17 octombrie, incepand cu ora 20:00 in club Fabrica (Bucuresti), concert RAKU – REZISTENTA . Invitat Dj Faibo X

Ons Poperings atelier keramiek & glaskunst heeft plaats in de oude “patronage” in Reningelst. Dat van Diksmuide in Pervijze. Er komen allerlei vreemde wezens uit de oven: een verlopen gelopen trol, het relikwiebeeldje van de Congregatie van de Constipatie, Poepje ruiken…
Er wordt ook geëxperimenteerd met de Japanse keramiektechniek RAKU, waardoor de glazuur mooi craqueleert. En tenslotte is er ook de Kamado: een zelfgemaakt keramisch grill-oventjes. Met als voordeel dat je aan het resultaat ook nog een lekker festijn overhoudt. Kortom, ons keramiekatelier is prikkelend voor alle zintuigen!

Chegou ao fim o Workshop de Raku promovido pela Oficina. Os participantes empenharam-se na fase final da formação: a queima em Forno de Raku. Como se pode observar na imagem, trata-se de uma cozedura especial, num pequeno forno de tampa amovível alimentado a gás. As peças, após a sua primeira cozedura, são vidradas e depois de secas são inseridas no Forno de Raku até atingirem o seu ponto de fusão (aproximadamente os 1000º C). Neste momento, são de imediato retiradas em estado incandescente, com auxílio de tenazes, e colocadas num recipiente fechado, propiciando-se um ambiente redutor do oxigénio. Passados alguns minutos, a peça é mergulhada em água fria dando-se uma rápida paragem do seu estado de oxigenação. O resultado é surpreendente e único! Agradecemos a todos a participação, esperando que tenham sentido o espírito do Raku, palavra que significa “alegria, felicidade ou paz interior”.