Sarah Roberts & Julian Smith Workshops

In a remote part of Co. Cork, Ireland, down an abruptly curving and narrow lane with steep, shadowy banks lush with ferns, big leaved forest plants and overhanging trees, we found Sarah Roberts' studio. 

Our van full of potters were there to glaze our porcelain clay reliefs. The air was clear and fresh; the animals, dogs, puppies, cats greeted us in a friendly manner and Sarah was very welcoming too. She offered us all coffee and homemade granola bars. 

The house and environs were all very old stone buildings. Clematis, roses, and many other plants grew in profusion in glorious chaos over the ruins.

We all barely fit within the whitewashed old stone walls, with floors a helter shelter of different levels and steps. But there was a large low table and stools, and we all found spots to stand or sit.

Sarah showed us her large multi pieced seascape mounted on etched glass.Though she had previously shown us slides of this and other work, it was a different experience to see the actual, dimensional work. Other work was on the walls such as this vertical piece, about a foot tall, or more.

And other smaller works.

We used her glazes, the ones she herself uses on her porcelain seascapes. There were copper oxides and rutile and jars of Mayco underglazes. The others in the group finished glazing and hiked the rocky lane to the top of the cliffs overlooking the ocean. I however was slow, and was one of the last to finish, and regrettably, could not share that experience. We'll see these pieces later after Sarah fires them for us.

The day before we had spent the day learning about raku firing with Julian Smith. First off, he showed us some raku fired pots he had made.

Then we went outside to fire. He had two homemade kilns: one a metal can and lid and one a mesh box, both lined with fiber insulation. A propane tank fueled both, one alternating being fired with the other. Another box with plywood lid was lined with sawdust and newspaper.

When the kiln reached temperature, Julian removed the clay pieces with large tongs from the kiln, plopped them in the prepared box and set the lid on the now flaming contents to smother them. That is when the raku effect takes place, as the ware is smoked and deprived of oxygen, in "reduction."

After a bit, more sawdust was thrown on top and closed up again.

Julian had little bisqued fish and bugs for us to glaze and then fire for ourselves. Only a half dozen or so were fired at a time, so most of the day was spent outside, standing or sitting around the hissing and smoking heat of the kiln set up.

The heat was good - Ireland is a cool country, even in summer, but my face was rather sunburned at the end is it.

Here are my fired pieces:

Julian fired pieces of his own including a female torso, one backside, one front, a mask and some pots, one of which I bought directly from him for 20 euros. It was a long day of patient waiting, but now I have a better idea about how to raku fire, learned from an expert.