We’re fans of Stoneware because we love its characteristic finish, stronger body and durability created by high firing. This can vary from metallic oxides in the clay and the firing atmosphere created by oxidation or reduction. Our clay is prepared by crushing the particles using a ball mill, filtering sand and pebbles through a sieve, sun-drying the wet clay and finishing it with de-airing it with our pug-mill. Through years of trial and error we believe we have found the perfect organic composition of Kaolin, Ball Clay and other organic materials.
Every item is unique by the nature in which a hand build object is formed. There are many ways to produce tableware, from slip casting to injection molding. In keeping with our aesthetic vision, we prefer the artisan hand-made wheel-thrown method and this also offers the freedom to create different shapes and measurements for our bespoke orders. Shaping by hand also gives each piece a soul or organic beauty that we believe cannot be achieved with machine made goods.
Drying and Bisque Firing
In Bali we are blessed with constant heat and sunlight that allows our pottery to dry naturally. After a week of drying, each piece is bisque fired slowly at around 200 degrees Celsius to remove excess moisture. The heat is then gradually increased until the desired temperature is reached.
The right pattern and colour combination will compliment the shape of ceramic ware. An infinite amount of glazes can be formulated but a simple one only needs three elements; silica, a flux and a refractory element. Along the way, we have been lucky enough to acquire recipes from potters such as, Suyatna, one of Indonesia’s most celebrated ceramicist, to craftsmen in Arao, a city in Japan famous for its Shodai Ware. Our glaze mistakes are a valued part of the learning process because they often produce the most beautiful, unexpected results. Some of these we still use to this day
Oxidation and reduction occur inside a kiln. Some of our glazes require a reduction firing in order to produce a unique affect. Reduction happens when the oxygen in the kiln is reduced. Colour effects are the result of metallic oxides that release oxygen and become metallic in form creating a colour palette. The melting point of our most common glazes is around Cone 8 or 1260 degrees Celsius. It takes more than 12 hours of firing to create the desired target temperature that turns a glaze into something magical.