Much to report! I have recently returned from a five week stay in Hungary – three weeks on a masterclass building a smokeless kiln and two travelling around Hungary seeing the richness of the arts in Hungary and in particular the ceramic tradition.
The Masterclass was at the wonderful International Ceramics Studios in Kecskemet in the Great Plain in the middle of Hungary which is flat and sandy despite the country being landlocked.The studios are an oasis of ceramics and ceramicists from all over the world – Japan, New Zealand, Singapore, USA, Mexico, Latvia, Lithuania, UK and of course Hungary. The collection of pieces from artists of repute who have passed through its doors is astonishing. The common language was, luckily for me, English – Hungarian beng well-nigh indecipherable!
Working with Sensei Masakazu Kusakabe, a group of about ten of us built a new design smokeless kiln every step of the way, sometimes in temperatures of near 40C. The kiln was constructed in 8 days, then packed and fired three times in 7 days. Careful mangement ensured it was smokeless. The kiln was extremely efficient and easy to fire, although the bottom of the kiln reached temperature very quickly, far ahead of the top of the kiln – which did result in some over-firing in some places – still, every kiln is different and it will take time to get to know it. Results were generally very good, with some beautiful glaze results throughout the kiln and really crusty effects on pots on the floor of the kiln and in the firebox.
Some of us couldn’t get over how big the firebox was in relation to the chamber – however, Kusakabe explained this was necessary for good combustion to take place to minimise smoke. Other important factors were the proportions of the firebox in relation to the length of the chamber and chimney, the dryness of the wood and careful management of the stoking. The chimney needs to be about six metres but interestingly, above 7 metres there is no discernible increase in efficiency or smokelessness.
The kiln drew the flame through beautifully – but this did rely on careful stacking of the kiln shelves to manage the direction of the draw. The placing of the side stoke hole was altered with each firing according to the packing of the kiln.
In addition to building the kiln, the three weeks were extremely sociable, with artists from around the globe getting to know each other. Several of the more established ceramicists gave slide shows to share their work, as well as the recently graduated young Hungarian artists. There was much exchange of cultural and artistic ideas and practice, and links were formed. It is my hope to follow this through with action, maintaining links and organising future exchanges.
Whilst I was on the course, work on the Manor Oaks site began, and Sue France wrote to Penny and I, eager to forge ahead with the kiln-building. So we are now straight into planning with that, and thinking about the structure of our enterprise. I am still collating all the information I gathered and will be posting more as I organise my vast collection of photographs.
We are still awaiting a date to visit the smokeless kiln in Wales. In the meantime it looks like the original date of March 2012 for completion will be brought forward to the autumn – Sue is keen for the kiln to be complete by Open Studios in November 2011.
