Ready to be black fired or to be precise heated to 1000 decrees C and then cooled to 600 and the kiln sealed. Then gallons of used sump oil are introduced to impregnate the clay pores with carbon.
And we worry about cows farting.
A different matter with the glaze firing though.
Testing the glazes I used for SINGULARITIES show, most of them ran a lot. Same cones and same firing cycle I think.
My first real expectation of being able to reproduce dependable studio effects internationally.
But you can't simply drag and drop between countries I realise.
Of the pairs, the left samples were of Walker's White Midfire and the right hand ones were of Franz's reclaimed clay, which could be anything, it is quite groggy so will suit the sump oil but it does fire very pale.
Have been softening some hard bags of Clayworks MFQ that I used to use at home during the Abbots White irregularities.
Just had a chat and it appears the kiln did get "a little hot" the 6 cone was really down and they fire at 100 degrees an hour, not 150 as cones are rated, so the old temperature vs heat work dilemma.
All of this is easily solvable (unleashed optimism) but will have to wait til next week as I am driving to Melbourne at midday with Greg for his Skepsi show AFTER GLOW opening tomorrow.
Staying with Ross and have ancient ceramic collections to see at the Art Gallery and the Ian Potter Museum at Melbourne University.
Probably back the long way by train/bus on Wednesday, or a cheap quick flight?