RAKU

     Part of the attraction to raku is the firing process. It is simple, fast and maybe most importantly, dramatic. The kiln, in it’s simplest form, could be some sort of barrel; insulated and supplied with gas as a fire source. Glazed pieces are placed in the kiln and the burner is ignited. The kiln is brought up to the desired temperature over a period of an hour or two. This temperature, approximately 1850 degrees Fahrenheit, is determined by means of a spy hole on the side of the kiln. The inside of the kiln will be bright red-orange and the glazes will appear shiny. The gas is cut. The kiln door is opened and the pieces are taken from the kiln with long metal tongs and fire-resistant gloves and placed into a pit with a combustible material, such as sawdust, dried leaves, or newspaper. This material will ignite on contact with the red-hot ceramic piece. It is then covered in some way, so as to contain the smoke to the area surrounding the work. This is known as, “post -firing reduction.“ It is this step which gives the work it’s unique characteristics. The carbon produced from the burning material turns the unglazed portions of the piece black, while giving the glazed areas their distinctive metallic or “crackled” appearance. After a brief cooling period, the pieces are removed from the pit, still very hot, but at a point where the shock of a quick cooling will not damage the work. It is then cleaned with a cleanser, such as Ajax, and a scrub pad. The work is then ready for display. Raku-ware is generally non-functional due to it’s low-fire characteristic. The clay has not reached a point of “vitrifacation” and is still porous. It is however, safe to hold dried materials.
 

elephant mask made with stoneware slabs

bisque-ware ready for glaze

glazed work loaded and ready for firing

work pulled from kiln at about 1850 degrees

post-firing reduction with saw dust

ready for a bath