The Firing Journey
Every piece makes the same journey: from a damp block of clay to ceramic that rings when tapped. Weeks of work, told here in seven stations.
Station 01
Everything begins with a mute, shapeless block. We wedge it at length to drive out air — one forgotten bubble is enough to break a piece in the kiln. Wedging is a slow ritual, much like kneading dough, and in it the hand learns the material's temper before promising it anything.
High-fire stoneware clay
Station 02
The wheel turns, and the block rises between two palms. Press deeper and the bowl widens; touch lighter and the wall climbs. Mere minutes separate a balanced mug from a collapsed lump — so everything here is thrown on a calm breath, one piece at a time.
Hand-thrown on the wheel
Station 03
Then comes the hardest part of the craft: waiting. Pieces dry on the racks for days, away from sun and draughts, until the rims and the hearts dry evenly. Rush this stage and you will find your work cracked before it ever meets the fire.
5–10 days, depending on the weather
Station 04
The dried pieces enter the kiln for the first time. Over long hours the temperature climbs past 900°C, and fragile clay becomes bisque — porous, sturdy, and ready to drink the glaze at the next station.
Around 950°C
Station 05
Glaze is a dull liquid that promises nothing — grey, chalky, inert. Pieces are dipped in it or brushed layer over layer, and we work on trust alone: the true colour will not show until the second fire.
Food-safe glaze recipes
06
Here the ending is written. The kiln closes on the pieces and climbs to twelve hundred and forty degrees; the glaze melts, turns to glass, and marries the clay in a colour no one can fully guarantee. We switch off the kiln and sleep on a curiosity like no other.
1,240°C · about 12 hours
Station 07
After two days of slow cooling, the door finally opens. It is our favourite moment in the whole craft: pieces that came out deeper than we dreamed, and others that surprised us with a flow we never painted. Only what passes the hand-and-eye check reaches the shop — the rest teaches us.
Two days of cooling before touching
Before & After
The colour that enters the kiln is not the colour that leaves it. That is why we photograph some pieces before and after the firing — so you can see for yourself what 1,240 degrees does to clay and glaze.
End of the journey
Everything in the shop has made the full journey — from wedging to the opening.
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