WOOD FIRING WORKSHOP 2026
For those who want to develop an understanding of the long wood-firing experience, they can participate in a firing at Middle Pocket Pottery facilitated by Suvira. In 2026 three firings are planned, see below.
It’s a six-day experience designed to be an introduction to and skills development for the process of long wood firing in an ash deposit kiln similar to a traditional anagama. The dates refer to delivery of work through to kiln opening day; the second half of the two-week duration is kiln cooling.
It commences with delivery of bisque work to the kiln, followed by glazing and preparation for packing the kiln. All this will be supervised by the Core Team (CT) and characteristically happens on a Saturday.
Kiln preparation and the subsequent three-day firing usually take a total of six days; the following eight days is a nail-biting wait for the kiln to cool.
There is an ongoing discussion and instruction throughout the process and after, questions are encouraged as are opinions, conjecturing and hypotheses. This can be real time or via the WhatsApp chat that each person is admitted to upon registration.
Participating potter/artists….
· should bring stoneware bisque fired work (see below).
· will be able to fire a number of works (see below).
· studio glazes (primarily shino) will be provided for the glazing of your work. (other glazes are admissible)
· are introduced to various aspects of preparing, loading and firing a wood kiln.
· the results evaluated when the kiln has cooled and is unpacked
The experience will include participation in.…
Identifying timber, collecting and gathering of wood, tuition and practical experience in splitting, storing and stacking specifically for the wood kiln. This is optional and flexible according to your availability and occurs in advance of the firing.
Discussion on forms and sizes suited for the wood kiln. Discussion on glazing, wadding and pot preparation for firing.
On the first scheduled date, deliver bisque ware, prepare pieces for the packing, and preparation of the kiln itself. May include mixing the house glaze and wadding. Participants apply glaze to pots as required and receive guidance with wadding.
The kiln packing takes up to three days; the firing, over another three days, this includes the lighting ceremony, followed by 72 hour continuous firing. Each participant will attend at least 2 firing shifts assisting to keep the kiln going around the clock (with an experienced person always supervising). The roster is organised in consultation with participants, and confirmed closer to the date.
One week later, unpacking of the kiln will commence at 10am, followed by debrief on firing results.
Subsequent discussions may continue via WhatsApp
Kiln Space
Your investment of $685 will ensure an allocation of kiln space being 500 x 600mm with mixture of heights. Height of pieces is determined by the kiln furniture: Brick/prop heights are 75mm, 110mm, 150mm and the largest brick/prop height of 225mm. Allocation also includes 1 larger piece of 350mm high x 150mm wide max. There may also be extra space allocated especially for tall pieces. Return firers have insight into this.
Bring with you
Remember to wear protective natural fibres (eg. denim), not loose flowing garments. Bring a water bottle, snacks, bring sunglasses and welding gloves. Closed, sturdy footwear is necessary.
Clay
Ensure any clay body used is a stoneware suitable for high fire cone 10. Dr. Sandy Lockwood has made the following observations about clay body responses in her kiln:
“Wood firing doesn’t require any particular clay type. They all have different characters and experimenting is the best way to find out. It depends largely on what you are trying to do. Also, it’s important that the clay matches in some way the expression that you are trying to make your work (eg. very finely made work might need to be made in a fine clay rather than a coarse one.) It can be good to also blend clays for a variety of results. Where the pieces are placed in the kiln can also make quite a difference to the colour of the clay body. Some clays respond more to ash deposits than others (usually those with a higher flux content). If you make different pieces in different clays and they are spread around the kiln then you can get quite a lot of information from the one firing. Also, looking at other people’s results multiplies the information.
Found clays are also good to try but please test these first to stoneware temperature in gas reduction.“