Whilst preparing work for the Olsen kiln, I was keeping some aside for my final experimentation in the Bourry Box - fondly known as the 'Skaelskor Express'! The first firing had been 25 hours, the second firing just 21 hours and the third was almost 22 hours. What we wanted to achieve was a lot more ash on the artwork - so we opted to use the Ash timber only. We also removed the brand new grate that had been installed in the kiln - turns out that the iron bars were having some effect on the amount of iron resulting on the surface of the clay. At least that is what we presumed had gone wrong in the previous firing.
Priscilla Mouritzen checking the side spy-holes - with her theatre-like protective lense - 1217 degrees!The firing took 3 hours more than we expected it to using our type of timber and stoking patterns. We expected to complete by midnight however as 3am approached and the temperature was stubbornly remaining in the early 1200's, it was time to clear out the build up of embers in the archway of the firebox. This would hopefully achieve a better draw through the kiln.
Things steadily came together and despite the fact cone 12 still stood tall in the side-stoking area, the heat in the back of the chimney was over 1325 degrees so we were happy to close up and get some sleep!
The results were impressive - below you can see a piece by Leena Juvonen from Finland . Leena tends to use direct prints in iron oxide. In this one, she has beautifully transferred her own fingerprints - enlarged - and complemented by subtle Bourry Box vapours in protected areas of the kiln.
Also, Ingrid Kaern from Norway had success with her tableware which captures the ash in all the right places (below)!
My shield with the Viking carvings was unfortunately damaged in the firing - and I also lost some work to breakage during the packing of the kiln. Nevermind - I did have some raw-fired pieces that were a success and the colours on the shield I made once again validated my attraction to this type of kiln! Throughout the residency, I always maintain that my experimentation in firing is just as much about the kiln process - as it is about my completed works.
Bring on a Bourry Box of my own!!??
Things steadily came together and despite the fact cone 12 still stood tall in the side-stoking area, the heat in the back of the chimney was over 1325 degrees so we were happy to close up and get some sleep!
The results were impressive - below you can see a piece by Leena Juvonen from Finland . Leena tends to use direct prints in iron oxide. In this one, she has beautifully transferred her own fingerprints - enlarged - and complemented by subtle Bourry Box vapours in protected areas of the kiln.
Also, Ingrid Kaern from Norway had success with her tableware which captures the ash in all the right places (below)!
My shield with the Viking carvings was unfortunately damaged in the firing - and I also lost some work to breakage during the packing of the kiln. Nevermind - I did have some raw-fired pieces that were a success and the colours on the shield I made once again validated my attraction to this type of kiln! Throughout the residency, I always maintain that my experimentation in firing is just as much about the kiln process - as it is about my completed works.
Bring on a Bourry Box of my own!!??
journey as important (if not more so) than the destination.
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