Third European Wood Fire Conference in La Borne, France, continued

La Borne has been home to potters since, at least, the beginning of the 17th century.   The oak forests around the village were planted to provide wood to build the navy vessels for King Louis XIV’s fleet.  Today they supply the potters and their kilns and are carefully managed.  For the most part, the potters use the wood found on the floor of the forest and that from the ‘thinning’ management.  One informative talk during the conference was precisely on the history of the forest and its management, something that is not a normal topic in Manitoba because we have so little available wood in comparison.  Indeed, one of the reasons for building the new Bourry Box kiln is to be able to continue wood firing at the School but also, to conserve the amount of wood used in these firings.

The shape and type of kilns built in La Borne has evolved with economic and social changes in the country.  The early, extremely colossal kilns, often known as ‘whale kilns’, were used to fire storage jars for transporting and storing food.  In the 20th century, demands by the local farms for pottery slowly declined because of new manufactured products that served the same purpose but were cheaper to purchase.  After World War II, there was a shift in the type of work made in the village.  Up until this time, the pottery production in La Borne was entirely for domestic uses related to the storage, cooking, and serving of food and drink. After, there is the arrival of the first individuals trained in art school, many of whom worked in creating clay sculpture.  Jacqueline and Jean Lerat were two such ceramic artists.  Their son gave a superb talk about their work and the change in the type of production in La Borne at this time.

Today, the kilns in La Borne are much smaller, suitable for the production of one or two persons.  They range from the Sevres style with a  one cubic metre ware chamber that belong to Atelier Dominique Gare-Roz Herrin and the same style of kiln to Jean and Claud Guillaume.  Dominique Gare has  a six cubic metre noborigama while Svein Hjort Jensen fires a three cubic metre anagama.  Included with the Bourry Box styles and the Asian kiln types are also a number of kilns based on the designs of Fred Olsen.  Sylvie Rigal has a one cubic metre train kiln while Dominique Legros fires a 300 litre Four Dragon kiln.  At the end of October, these kilns will be lit, most at the same time, for the firing festival known as ‘La Borne senflamme’.  It has been an annual event since the 17th century.  This event and the Third European Wood Fire Conference has brought many outsiders to this picturesque village, some 40 minutes from Bourges.  It is hoped that the village and its potters continue to prosper in the centuries to come.  If it is, there needs to be a way to bring more youth to the village to establish their own studios. Indeed, there were many young people who attended the conference so there is hope!

I am grateful to all the members of the Association Ceramique La Borne for all of the events they organized.  It was difficult to decide which talk or workshop to take from the descriptions on line.  This was so unfortunate.  But, like everywhere else, choices had to be made.  The conference took advantage of local resources and the beauty of the Loire Valley.  There was an excursion to the Decorative Arts Museum and St Etienne in Bourges on Thursday and tomorrow there is a trip to Sancrette.  Of course, having time to catch up with acquaintances that you haven’t seen for four years or meeting new friends and having discussions in between the formal events really is what these events are about.

And a correction.  There are three countries interested in hosting the Fourth European Wood Fire Conference.  They are Latvia, Belgium, and Spain (Barcelona).  It had been anticipated that the next host would be announced today but, each of the venues has asked for more time to consider their resources in relation to the hundred attendees (the average of the paying guests during the first three conferences).

 

 

So excited to be a part of the Open Forum (with discussions and debates) at the Third European Wood Fire Conference in LeBorne, France

The French organisers of the Third European Wood Fire Conference in LeBorne, France have selected the speakers for the Open Forums and Discussions.  I am so pleased to be amongst so many talented wood firers including Julia Nema, Fred Olsen, Coll Minogue, and Ben Richardson.  It is going to be such an exciting time to be in this French village in the Loire Valley, home to wood firing kilns since the medieval era.

It is still not too late to register.  If you are into wood firing and want to be in ‘the place’, then check out the conference, find a flight, get some accommodation and go!  There is a week full of talks, demonstrations, discussions and debates and, of course, the meeting of old friends and the making of new ones.  The Third European Wood Fire Conference is August 25-September 1 at the Ceramique Contemporaine LaBorne Centre.  The website is at laborne.org

This is the listing for my talk…the more I research the marginalization of women in Ceramics the more that I am finding it is NOT a phenomena known in the area north of Berlin where women have been expected to work and have been equal in their training and their ability to supervise workshops for decades.  My talk focuses on North America with a nod to what has systematically happened in wood firing in Japan.

Thursday 30 August 10.45 – 11.15 am
Mary Ann Steggles

Mary Ann Steggles is Professor of Ceramic History and Ceramics at the School of Art, University of Manitoba, in Winnipeg.  Alongside her teaching, she curates, researches and writes on the history of wood firing and contemporary ceramics in Canada for various ceramics journals. She is working on a research project about the silencing of women ceramists and the marginalization of both women and ceramics in the world of contemporary art.

 

Her talk will focus on the marginalization of women within the world of wood fired ceramics.  In Japan, women are not allowed to fire the large wood kilns.  In Canada, the world of wood firing is dominated by a male view.  Historically, men have been the only visiting wood fire artists, their stories are predominant in the publications, even attempts to build a smaller kiln become controversial because the students see through male eyes.  The kiln has to be ever bigger, firing even longer, consuming more wood to get layer upon layer of fly ash on the surface.  Mary Ann students are women.  It is time they had women role models.  What are the experiences of other women wood firers?  and how can we create an aesthetic that counters that of this male view?