As I sit here trying to put my recent journey into words, I'm still buzzing from the magic of my first-ever trip to Japan. Japan had always been this fascinating place for me, with its ancient ceramic traditions and a vibrant community of contemporary artists. But somehow, the stars never quite aligned for me to make the trip — until last month.
When the opportunity arose to join Sofie Neuendorf (Lunio by Sofie) and six fellow ceramicists from Australia for a traditional wood firing experience in rural Japan, I knew it was now or never. We traveled to Tamba-Sasayama, a rural area north of Osaka, and stayed at John Dix's warm and welcoming studio in the woods.
About John Dix
John, an American potter, has been living in Japan for over 25 years. He had the opportunity to build an anagram kiln in Tamba, an ancient pottery region in Japan. What began as a small-scale rural studies foundation has grown into Fieldwork Japan, a facility where people can experience rural Japan through pottery.
Today, John remains active as an independent potter, selling and exhibiting his work. He also encourages people from all walks of life to join him at Fieldwork Japan to experience the beauty of anagram wood firing and the Japanese countryside.
For more info about John, click here.
The Making
Exploring new wheel throwing and hand-building techniques with John has been an excellent way to push me out of my comfort zone. His organic yet controlled shapes are quite the opposite of what I usually create. Believe it or not, making a well-executed "wonky" piece is harder than it looks!
We practiced creating undulated rims, carving and altering wheel-thrown pieces, hand trimming instead of trimming on the wheel, Kurinuki techniques, and much more. Many pieces ended up in the reclaim bucket, but taking a break from production to play and experiment has been incredibly refreshing!
The Firing
After several days of throwing, hand-building, bisque firing, and glazing, we began loading the Anagama kiln, a process that took a full two days. Every single ceramic piece and all props had to be wadded before being placed in the kiln to prevent them from fusing together. The firing itself lasted roughly 70 hours—nearly three days—with 6-hour shifts around the clock. We often had to wake up in the middle of the night to take shifts from 2 a.m. to 8 a.m., only to go back to bed afterward. Time began to blur, and the only thing on our mind was the kiln’s temperature.
About Wood Firing:
Wood firing ceramics is quite different to firing pots in an electric kiln. As the word suggests, it’s a method where wood gets used to fuel the kiln, like a good old bonfire but quite a bit hotter.
The end results look very distinctive due to the ash that develops during the process. This wood ash gets blasted around in the kiln and forms a glaze on everything it touches. For example a pot that faces the flame will have an ashy front and a relatively ‘normal’ backside, resulting in unique and irreplicable surfaces.
Wood firing is an ancient technique that is still actively used today by potters who value its tradition and aesthetic. However, it’s a labour intensive process and nearly impossible to undertake on your own. Typically, a community effort is required to prepare and fire a wood fire kiln, which makes it all the more special I think.
The Unloading
After five days of making, two days of loading, three days of firing, and another two days of cooling down, the Anagama kiln was finally ready to be opened. This was the moment we had all been waiting for! Forming a human chain, we carefully unloaded each piece from the kiln, taking the time to fully appreciate every creation.
There were bursts of joy and awed admiration, but as with all ceramics, especially wood firing, there were both wins and losses. Ceramics once again reminded us to keep our feet on the ground and sparked a renewed thirst for learning.
“So when are we doing this again?” Was the question on everyones lips.
Thanks for this unforgettable trip, Sofie and John!
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Interested in experiencing a wood firing trip in Japan?
Contact Sofie Neuendorf at lunioceramics@gmail.com or message her on Instagram.
Thanks to an amazing crew:
John Dix
Sofie Neuendorf
Blanche Alexander
Jennifer Redmond
Clara Withers
Claudia De Salvo
Josie Hunter
Portia Sutherland
Simon Lalonde
