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WOOD FIRING 1994-97

In 1994, I was able to work at the International Ceramics Studio in Kecskemét, where I learned about wood and raku firing, and salt-glaze firing. I was always interested about fire. Most ceramic artists, who live and work in the city, use electric kilns. Here, the filament heats up the ceramic pieces in a closed space, and I only take out the finished piece when it became cold again. This is a sterlie thing. The final piece, and the way a glaze acts can be initially planned, and calculated. It becomes all the more interesting when fire gets part of the heating, with its smoke, ash, soot, and its incalculableness. If we heat the kiln with wood, the works placed inside all get touched by the flames, the soot precipitates, which makes the figure look like a crispy, freshly baked bread.


 
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