Raku pottery was created in Kyoto, Japan sometime during the second half of the sixteenth century.  It was first produced  by a potter called Sasaki Chojiro, 1515-1592, and his son, Jokei. Originally they were roof tilers.  In 1587, while working on the beautiful pleasure pavilion, Jurakudai,  they became close friends with the famous Tea Master, Sen-no-Rikyu. The tea ceremony had recently become revered as a national art in Japan. With Rikyu’s guidance, Chojiro and Jokei began making wares exclusively for the tea ceremony.  This new pottery style broke away from  the restricted forms of fine porcelain the Japanese were used to seeing. The first Raku was soft, low-fired, hand-molded pottery with a thick rich glaze; the surface showed a variety of subdued colors.

          Select potters of  today employ the same 400 year old firing technique that Chojiro and Jokei used  but  add special glazes and washes to produce more colorful surfaces.  This Raku pottery also breaks away from traditional pottery.  I  think the new colorful surfaces reflect the freedom of the fire,  continuing Raku ceramic origins...  the Japanese character raku means “enjoyment of freedom”.

          Each Raku ceramists has his or her own style of firing Raku.  I formulate my own Raku clay body. I then hand throw the form on my potter’s wheel; I usually make old world pottery forms. After it dries, I fire it in my kiln. The piece is then coated with a high concentration of metal oxides, predominately copper. I then fire it again, this time to 1800 F, when the piece is glowing red. The metal oxides bond to the ceramic surface at this temperature. While red hot, I take the piece from the kiln and place it in a nest of combustible materials, such as leaves, sawdust and straw. The hot ceramic piece sets the nest on fire. Fire and smoke engulf the piece. As flames glide over the piece, they interact chemically with the metal oxides creating paths of color on the ceramic surface. I then cover the piece with a metal container to create an airtight seal, depriving it of oxygen. This further enhances the chemical reaction with the metal oxides. I remove the container after fifteen minutes and let the piece cool.

          My goal is to produce  vibrant, beautiful color on my pottery forms. It is known for its bold coloration.  I have learned over the years many factors interplay to achieve this, such as the timing of each phase, the type of combustible materials I use and the way the materials are arranged in the nest. I have been firing with this process for eighteen years and I am always astonished at the colors that I get. The chemical reaction with the spontaneity of the fire consistently create a colorful, one-of-a-kind art piece. Each piece is a joy to design and “paint” with fire!      George