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 Sunrise
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One of the many pleasures of building the WPA’s Te Haunui anagama kiln was the spectacular view to be had from its site in Horokiwi overlooking Wellington harbour. To this can be added witnessing occasionally beautiful sunrises towards the end of nightshifts spent, cutting, carrying and stoking firewood. However, I am getting a little ahead of myself.
In planning for the first proper firing of the kiln (the improper firing involved burning out formers used in its construction) we assumed that the firing would take at least 4 days. Shift leaders were identified and volunteers to assist were sought. On the Sunday prior to the firing a briefing, conducting by Shige Ohashi, was held to discuss how the firing would be conducted and to explain to those of us who were rank novices how we should prepare and what we could expect.
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Ceremony Number 1 - Roger Pearce Officiating
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While the first firing had been widely publicised and promoted amongst WPA members, we had nagging doubts about the level of response it would engender. We seriously wondered whether we would have enough pots to fill the 4 cubic metre kiln. In the event we needn’t have worried as 46 people submitted an estimated 270 pots for the firing that were ferried to the kiln by Roger Pearce and Mal Sole.
Two year’s work finally came to fruition on Saturday, 18 March 2006 when June Houston lit the anagama kiln for the first firing. Kiln loading started on the Wednesday but took longer than expected so the lighting ceremony scheduled for 8 am was postponed until 2.30 pm. This gave us the opportunity, readily taken, for two ceremonies. We partook of wine at 8 am and sake (by courtesy of Mal Sole) at 2.30 pm. The celebratory mood continued in the evening when a barbeque was held attended by Bob Compton, his wife Christine and other members. Bob, from Vermont, USA, was conducting a workshop at the WPA rooms.
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Richard Stratton Sealing the Wicket
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Before the firing started Shige Ohashi, the kiln or firing master, fixed a small banner to a post in the firing pit bearing a Japanese inscription to protect those involved in the firing from harm. Wayne Blackburn thoughtfully attached a cutting from an aloe Vera plant for use on burns. Fortunately there were none. Shige was assisted by shift leaders Richard Stratton, Mal Sole, Wayne Blackburn and Darryl Frost from Nelson, and a team of some 15 enthusiastic helpers aided by many visitors. The firing ended some 85 hours later at 3 am or thereabouts on Wednesday the 22nd.
We viewed the first firing as an experiment. We were uncertain about how well the kiln would perform and whether we would have enough wood to sustain the firing. Gas was on hand if we needed it which we didn’t. Initially the kiln performed well and gained temperature roughly as planned. However, it appeared to stall when the temperature got to the 1150 degree mark and we started to get erratic readings.
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June Houston Lighting the Fire
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Very energetic and anxious stoking followed until it was discovered that we were getting false readings. Stoking then became less frenetic and confidence was fully restored after probe and meter changes.
The kiln was opened on Sunday, 2 April when the results of our endeavours were revealed. Most of the following observations by some shift leaders and shift members were written prior to the opening.
Shige Ohashi
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Shige Ohashi Loading the Kiln
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“Anagama” is a type of wood-fired kiln. However, it is a special time-honoured kiln with a primitive and simple structure. Both the pot space and the fire box are together in one chamber. Although its origin is not clear, it has been continuously attracting people since at least 700 – 800 years ago. It must have something that touches deep inside of our hearts. It can create a variety of pots from manly, rough with much wood ash to feminine, gentle with only the colour of the flame without wood ash.
“Anagama” has great powers and possibilities. Our contrived actions to attempt to realize our self-willed expectation at firing are not so effective. And those superfluous things may kill themeasily. What we should do at firing is to have the kiln bring its ability into full play with the minimum essential actions by us. I believe in the “Anagama” kiln. When stoking firewood, I am listening to the kiln and talking to the kiln. It is a pleasant time with the kiln. If we succeeded in having the kiln make our pots, we can see the very natural beauty on our pots unloaded from the kiln.
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Hot Work
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Loading pots before firing is very important. We have to put pieces on the shelf imagining the flame flow. When we have done this, we have done 50% or more of the firing.
Regarding the firing cycle, we have to heat up the kiln slowly at the initial stage because it is impossible to heat up the big volume of the kiln itself and the many pieces in the kiln fast, and no meaning to heating up the air in the kiln. At the second stage, we try to get a high temperature over 1250 degrees in order to fire the pieces. At the third stage, we try to get thick wood ash glaze on the pieces by dropping and raising the temperature in the range of 1100 to 1250 degrees ordinarily keeping the reduction atmosphere. At the fourth stage, we close the firing at a high temperature over 1200 degrees keeping wood ash glaze melted. This is very general. It depends on what kind of pots we want to get. In a real firing, the action should be decided by watching the pieces in the kiln.
Regarding our first firing, we have done a good firing by the superb joint forces of many people. We have seen that our kiln really worked and has good possibilities. I’m sorry we did not know what kind of clay in
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Beacon in the Mist
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NZ is good for this type of wood firing. However, I think we can study many things from this our first experiment. I have had a very good time.
Jenny Daysh
My feelings were as most of us who I met at the Horokiwigama (the kiln’s nickname) "experience'. I felt complete excitement at being able to be a part of the team, and just wished I was there for the building of the kiln. When talking with the owners of such kilns in Japan, as they were not firing when we were there, the interest was not so sharp... BUT NOW..we have our own, and no matter what the results, I and all who were involved will be keen to be a part of the next firing.
Maureen Brider
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Test Pot
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I feel privileged to have been a small part of the amazing anagama kiln firing that started on Sat 18th March and continued for the next eighty-five hours! The energy and excitement was contagious, and I wish I’d helped out when the kiln was being built.
Shige put so much energy and expertise into the loading of the huge kiln over 4 or 5 days, and into the firing with help from many other club members. I visited on the Sunday afternoon I was amazed at the amount of wood the kiln was burning – about 4 large logs were being added every few minutes. With anticipation I wait for the opening of the kiln on Sunday.
Gavin Drew
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Graeme Houston & Shige Ohashi Opening the Kiln
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I just don’t get up at 1AM, not even for fishing! But there’s something compelling about spending six hours feeding a friendly dragon through the small hours of the morning. Sure, I found out I wasn’t so hot at splitting wood, even though it was indeed hot work! But Shige asked me to stoke and I did so for several hours – a little tussle between me and the pyrometer.
As a newbie to the Association – though I have dabbled in clay, on and off, for 35 years – the experience was the realisation of something I’ve long dreamed of doing. Electric kilns are efficient, but clinical. The anagama is elemental. It breathes. And, with thick mist on the land, heavy rain on the roof, a couple of bouts of thunder and lightening and a two metre flame licking into the black Horokiwi sky, I felt that, at last, I was truly participating in pottery.
We thought about approach, about how much control. Shige talked about the kiln telling us what to do. I thought about Martin Buber’s I and Thou, a book I was re-reading and smiled at how aptly Shige’s approach illustrated Buber’s insights.
I did three early morning shifts, along with Alan, Shige and others. The fellowship was good and I’m keen to do it again ASAP.
Mal Sole
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Unloading the Kiln
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Anagama produces ‘Yokumono’. If I have things right the Japanese word means “fired things” and fired things we did, we fired in timber in sticks of 5, sticks of 7 and bundles of small kindling tied up with Cabbage tree leaves all to get a digital readout to move through a range of numbers and it was more exciting than watching “Gladiator” at the movies. For those that missed out and weren’t involved in the firing bad luck, but you should try very hard to get involved with the next one.
Shige and Alan had put in a mammoth effort to get the Kiln loaded with an extraordinary number of pots and were ready to roll on the Saturday afternoon, Shige was patience personified with every man and his dog offering advice and ideas on how to do things better, but the evidence of the successful firing is there for all to see and how Shige’s plan worked, the experience shows through.
Lesley Ranson
Arriving at 7.30 on Saturday – the sun is just shining over Hutt hills, lightening up Petone from the heights of Horokiwi. No firing yet. Shige is crouched in the kiln opening, rolling balls of wadding to fit each base, carefully aligning pots for maximum effect. Firing delayed.
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Back of Kiln
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Back at 1.30 – last pots are in and now the action. First the kiln must be sealed. Each brick carefully numbered and just as carefully put in place. A small fire of kindling is created in front of the main kiln. Alan and June have the honour of setting it alight. Members stand round the pit staring as the flames burn. Steadily, quietly, patiently the fire takes – no rush – the kiln must heat and so must the pots.
Sunday 2pm. I arrive to the fire burning strongly – inside the kiln. Some concerned people discuss the next shift’s task for the pyrometer is showing 1050°C and we need at least 1250°C. The morning shift only managed 1150°C so we must work hard. Mal and Mike are the stokers. Every minute more wood – then still more wood – 5 pieces at a time (must keep the numbers uneven - it is tradition). Wait – watch the needle on the pyrometer – yes, it is climbing. More wood. Keep the stokers supplied. 1150°C – great! No, its dropping! More wood. 1150°C again. Great – let’s keep it going. More wood.
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First Shelves
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Shige, Rebecca (Houston), June sit and stare at the pyromter. It is an engrossing as the last soap opera! But that can’t be right. The temperature is showing a steady drop. The door of the kiln is almost too hot to touch. Five minutes in front of the kiln is all the guys can stand. The pit is like a sauna. Then someone observes – “We must be hotter than 1080°C! Perhaps our electronic gear has let us down!”
Hey everyone. Let’s use our eyes, our ears, our feeling. Let the kiln speak. Watch and observe. The light inside is white. The pots glow translucent like some holy grail. The fire roars. We have reached temperature. The kiln is in charge. Let it do its work. Let us relax.
Food time. Keep the stoking up. Keep the rhythm. Don’t panic. All is fine.
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Front Left Shelves
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Graeme Houston, assisted by Shige, had the honour of opening the kiln on Sunday, 2 April. A chain gang of shift members took pots from the kiln and displayed them on pallets previously laden with firewood. People were generally satisfied with the results although there were concerns that the temperature at the back of the kiln, where glazed pots had been located, had not reached a desirable level.
A de-briefing session will be held in May to analyze and learn from the first firing. Without preempting the outcome of that exercise, in future it is likely more time will be allowed for loading the kiln and, at Shige’s suggestion, the duration of the firing extended. There are also issues of whether future anagama firings should include bisqued pots alone or a mixture of bisqued and glazed pots. We will also review the basis used for calculating firing fees.
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Nice Ones
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Linda Admires Her Pot
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The first firing was result of a huge effort on the part of many people. In this the WPA is indebted to June and Graeme Houston on whose Te Haunui property the kiln was built and without whose resourcefulness and support the kiln would not have happened. One of the unsung heroes in this is Mike Atkins, a club stalwart, who brokered the anagama kiln project (the brainchild of Richard Stratton and his friend Andy Hope) with Graeme. He was always on hand to provide timely practical assistance and encouragement.
I wrote of the spectacular views to be had from the kiln site in Horokiwi. While ministering to the kiln during the day can be a stimulating experience, there is something that touches the soul when firing it at night when the site is shrouded in mist and all is quiet except for the satisfied purring of the kiln.
The next club firing is scheduled for October. Based on the reactions of those involved in the first firing, there will be no shortage of participants.
Alan Ross
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