My turn around time as a wood fire potter is slow. It takes about three months to make the work, fire, unload and clean up the work for sale. I have learned to always pull some of the best pots from each firing. I keep these aside for when I have a request to send work to special exhibitions. Since we moved to illinois and built a new train kiln I have pulled work from the first five firings, and saved them aside. When I had enough work I reached out to Jigna and asked if we could do a solo show. The work you see here is the culmination of learning a new kiln. These pots are the best of what I have made since 2016. I went through that work and grouped them by form and surface, into 10 groups of 4. Woodfired work is by nature relational, forms fired next to each other cast shadows and redirect flame path and permanently affecting the colors and feel of their neighbours. Stacked plates have markings that are akin. The potential for sets with subtle variation is exciting; much of this work is explores these effects.
I know this sale is a bit different, except for the case of pitchers and jugs, the work is not for sale as individual pieces. This is an opportunity to see what I see, to experience some spectacular results of the process, and to own groupings that have been united by fire and aesthetics.