Getting my own kiln marks an important new chapter in my ceramic practice.
Since completing my Visual Art studies at TAFE, I have continued developing my sculpture independently, working mainly with hand-built clay. I have been learning through making, experimenting, making mistakes and gradually understanding the material more deeply.
Now, having a kiln in my own studio means I can begin to take another step in that process — learning about firing and becoming more involved in what happens to my work after it leaves my hands as wet clay.
But before the first sculpture could go into the kiln, there was an important first step.
The Kiln’s First Firing
A new kiln needs to be prepared before it is used for firing ceramic work. The kiln elements need to be oxidised before the first firing with ware inside.
For my kiln, this is done by running an empty kiln firing using Pattern 1, one of the preset firing schedules on its Stafford controller. You can see the full list of presets in the Stafford firing schedule (PDF) from my kiln supplier.
So my first firing was not a sculpture at all.
It was an empty kiln.
There was something quite satisfying about this. After spending so much time building sculptures by hand, I was eager to see my first piece of work go into the kiln. But I knew there was no need to rush.
The empty firing was the beginning of getting to know the kiln itself.
Learning Another Part of the Process
Until now, most of my attention has been on the physical process of making — building the form, hollowing the sculpture, refining the surface and allowing the clay to dry slowly and carefully.
Firing is different.
Once the kiln is running, I have to let the process take its course. Temperature, timing and the behaviour of the clay all become part of the journey.
I am still learning about this part of ceramics, and I know there will be much more to understand as I begin firing my own work.
For me, having my own kiln is not simply about having another piece of equipment in the studio. It gives me the opportunity to understand the ceramic process more completely — from the first touch of clay, through building and drying, to firing and finishing.
A Small But Important Beginning
The first empty firing may seem like a small step, but for me it represents the beginning of something new.
There is a lot I still want to learn.
My sculptures are becoming larger and more ambitious, and understanding how clay behaves through drying and firing will become increasingly important to my practice.
For now, I am simply pleased to have taken the first step.
The kiln is ready.
The next firing will be different.
This time, there will be clay inside.