The kiln did not set the house on fire.
The dried pieces went in to fire a week ago, and this weekend we had a glazing party in the studio, covering the table with brushes and cups and smears of probably-nontoxic chemicals.
Glazed pottery looks terrible before it’s fired - the clear is opaque, the yellow is black, the blue is red, the red looks the same as the blue and you can’t remember which cup you dipped in - and then the all-day baking activates chemistry. The kiln cooled through the night, and in the morning I went sneaking out in my pajamas to crack the still-warm oven and peek in, feeling that early-hours magical-transformation anticipation for the first time since I was a kid tiptoeing down the stairs to look at the stockings. It was the most satisfying personal moment since I walked through the rain at night on Whitbey Island with an Elizabeth Zanzinger painting in my arms.
The pottery is ugly as all hell, but we learned a lot about how glaze behaves, and some of them surprised us with flecks of gold and deep shiny color. The kids cheered and made sad trombone noises as we went through them.
After work, I scooped the clay slop out of the fuckup bucket and spread it on a plaster slab to reconstitute, then wedged up a big pile of reclaimed clay and threw three decent mugs in a row. I don’t even know how that happened. Running your fingers slowly up and down a spinning cylinder and feeling it move into the shape you’re thinking of is like telekinesis. At night, in a basement studio with quiet music, it’s a good zone to be in.
Feeling really happy over here.
Zenny is feeling good, and confident her dish is the best one


















































