Emerging Potters – 26
January – March 2022
Book Review: Contemporary Raku Visual connections are noted, memories of museum visits and ancient pots revisited. Sketchbooks are referred to, and even older and undeveloped ideas remembered. The anticipation of the firing to come builds as recipes are adjusted and pieces are glazed, with some new combinations of colour to be explored. The first piece is gently placed in the kiln and as the temperature slowly rises, the excitement and expect- ations increase. The glaze has matured and the vessel is carefully removed from the kiln with metal tongs and placed onto a pre-prepared bed of sawdust and wood shavings. Flames and smoke erupt as more shavings are added and the lid is put on the bin. The hours slip slowly by, the lid is removed, with a combination of expect- ations, doubts, anxiety and enjoyment, the form (still very hot) is slowly revealed. That fundamental desire to create, the total involvement with the drama of the firing process and the hopeful anticipation for the potential of the outcome, are all part of the Raku experience. The earliest Raku was produced in Japan around 500 years ago, and has been greatly developed since those early beginnings to become the exciting and con- stantly evolving practice used by many leading makers of ceramics today.
Top: Stephen Murfitt, Angular vessel with semi-matt white glaze. Height 39cm. Below: Stephen Murfitt, glazed and fired block forms. Height 29 cm.
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