Wood-fired ceramics allow the potter to join with nature, in four or five days and nights of oak and pine firings, to produce a range of works beyond what could be completely planned. I’m especially fond of making tea bowls, which both the potter and whomever holds them can “see with their hands.” This bowl was pulled from the kiln at its highest temperature, and quickly doused in a pail of water— a huge strain on the clay— and it survived.
Between firing methods, glazes, and variations of shape, there is a possible range in ceramics that offers potters an unlimited scope for their work.