Those of you reading my blog know that the idea for the new Bourry Box kiln came because there was a need for a ‘learning’ kiln. A kiln that is easy to load, clean, fire and that can be fired numerous times in a short period of time to cone 13/14 and by one or two persons. We just about did it. The bagwall will be adjusted, new shelves will be ordered (please don’t use old soda kiln shelves), and a nice coat of Adobe will be spread. Anyone have any ideas what colour we should tint that Adobe? And we need some new insulating bricks for the door – we used the ones we had but it takes far too long to mortar them if they are broken.
The kiln requires a proper shed or it will simply deteriorate. Putting a temporary one up is an option but then people begin to see that this might work and they give up on building one that would cover the space, the ware carts, and the students when they are loading and firing. Hopefully, we will have this before winter sets in. Then the lever and pulley system can be installed allowing for one person to fire. But, we also need to figure out a way to safely pre-heat the kiln in a public setting. But, for now, this chimney needs to be attached to the building!
The kiln went up as Markus and I had planned and as we knew that it would. But others were caught off guard. You cannot mortar a proper chimney and weld all of the metal supports in two days. It simply cannot happen with other demands such as the welding of the fibre board firebox lid. And then if the scaffolding company comes and you haven’t finished, well…I can’t do a tell-all in my blog because in about a year the story of this kiln is going to appear in Ceramics Monthly and, hopefully, it will help others planning a community build. What I will continue to do is to praise the participants who signed up to learn and help; they were very thankful and repeatedly told me and Markus what a good experience this was. As I have said many, many times in this blog, it was their motivation, respect, and desire to build something the right way that made this possible (and, of course, Markus).
For now, though, I have to move on. The ashes from the first firing have been fathered (yes I wore one of those horrible masks) for experiments with Nuka glazes. I am going to go and see my friend Gunda Stewart in Canyon, BC in mid-July. She has a beautiful manibigama kiln and her wood-fired domestic vessels are solid. Then it is Guldagergaard and finally, The Third European Wood Fire Conference is in Le Borne, France at the end of August. Check it out. Paul Davis is giving a workshop on Oribe at Sturt (Australia) in early July (won’t be there but some of you might be able to jump on a plane; there are a few spaces left). There are lots of things happening around the world within the wood fire community.
Everyone has either brought bisque work or created objects that will be loaded tomorrow. The kiln will be fired with dry Poplar logs on Thursday for about 14 hours so that we can reach cone 14.
Markus mixed up some amazing short bodied heavily grogged clay. All of the participants and Markus worked on the wheels (Diane Laluk made masks) and those vessels have been drying in the kiln room or out in the sun to be loaded tomorrow raw. Can’t wait to see how the lick of the flames changes them.
It has been a great experience. Everyone seems to have much more confidence, realized talents and muscles they hadn’t used for awhile, and made some new friends. You literally could feel the ‘cooperation and respect’.
Now if you are looking for some experience building a similar kiln and live near Maple Creek Saskatchewan, get in touch with Zach and Adrienne at Smiling Cow Studios. They already have their pad ready and will start the build in about a week. Zach is an incredibly nice guy – drive over and give them a hand. I am certain that they would come and help you! Pass along this information to anyone that you know.
This Bourry box kiln with the extended throat should fire beautifully using little wood. It is time to think of the environment and to slow down. Will post some of the images when the pieces come out of the kiln! There are going to be some beauties!
It is Day 4. The arch of the main chamber is up and cast. Tomorrow there will be lots of welding and the chimney will go up while the lid to the firebox is cast…everything looks like it is a go for a firing on Thursday. Fingers crossed!
If you are looking for a great kiln builder that knows the importance of using good materials so your kiln will last, the need to save the environment (less wood) and someone who can truly build a smokeless kiln, then look no further than Markus Boehm.
The old train kiln’s chimney was leaning like the tower of Pisa and, in fact, Markus Boehm called it the ‘Pisa chimney’ quite often as he thought about the design for our new wood kiln at the School. The brief was: had to be able to be fired by only 1 or 2 students in a period of time that they were not exhausted plus some ash effects. The old kiln was worn out, its bricks had expanded and contracted and without mortar, it was leaking air like a sieve. The last firing that the students did with Martin Tagseth’s special workshop for the Ceramics Club took around 48 hours but the temperature was uneven with the front reading cone 8/9 and the back cold and the work oxidized. Our director, Paul Hess, had already decided it was time for a new one in the fall of 2017.
Through a series of events, the School wound up having to get a permit at the 9th hour. Kudos to Scott Shank, Andrew Sinclair, and the amazing structural engineer whose name I forget (complete apologies). They took Markus’s sketch, turned it into a detailed drawing and it was stamped by the engineer and presented to the City of Winnipeg for approval. This was May 11. Our workshop starts on June 21. We need materials! What if we didn’t get our permit? Some of the participants already had their airline tickets. I never thought of myself as too anxious a person but this was beginning to cause me to worry. There were quite a number of people holding their breath. We kept the faith. Chris Pancoe ordered the materials that Markus had specified. Some were coming from Georgia in the US. The rail strike lingered but was resolved. Whew! Everything just seemed like it might be going our way. Accommodation for the workshop participants was found at St John’s College. Now, where can you stay for $55 a night including 3 meals? [They are even making box lunches for the five of them so that they can work through the standard time and not have to leave the construction site.] The permit came the third week of May. Materials were to arrive June 18 and 19 – and they did! It all came together. The workshop participants arrived from across Canada and from Winnipeg, many current or former students of either the School of Art or the Faculty of Architecture. They are a great team. It was inspiring to watch them learn from and work with Markus yesterday. Stay posted. The logs arrive today for our firing of the kiln on Thursday the 28th. I will keep you posted on the progress.
The permit is in hand, the materials are on site or on their way, and excitement is beginning to stir. It is just 16 days away from the first day of the wood kiln workshop at the School of Art, University of Manitoba. I have opened up 2 additional spaces for another lucky 2 people to join us. If you know of anyone, please let me know. The fee is $325 – a bargain. If you are coming from out of town, there is accommodation at St John College for $55 per day and that includes three meals. Feel free to contact me for further information or any questions you might have. It is a great group coming from Budapest, Vancouver, Maple Creek, Red Deer and Winnipeg!
My e-mail is: email@example.com
Jack Sures had a strong connection with Manitoba. Born in Brandon in 1934, he started studying painting and printmaking at the University of Manitoba’s School of Art in 1954, when it was located downtown. After transferring to the University of Michigan and travelling to Europe and the Middle East, the young artist returned to Winnipeg to set up Jack Sures’s Studio on Portage Avenue in 1962. The late Charlie Scott said that ‘Sures ushered in the modern era of pottery making in the City’. This was, as far as Scott knew, the first independent ceramics studio in the City. It attracted other talents such as Tam Irving, Anne Marie Schmidt-Eisler (later to study with Harlan House under Albert Borch in Alberta), Muriel Guest, Jason Krpan and Gerry Tillapaugh. In 1965, the University of Regina attracted the talented artist and passionate teacher to lead up their ceramics programme. Sures retired from teaching in 1989.
Timothy Long in the exhibition catalogue for Fine Form, Saskatchewan Ceramics stated: ‘In the post-war period, pottery gained substantially in status, moving from a cottage industry to a subject of academic study. Leading the way in Saskatchewan was Jack Sures (Regina), who established the ceramics program at the University of Regina in 1965. Sures advocated that ceramics be considered an art form on par with painting and sculpture.’
Sures used all of his talents when he created works of sculpture, ceramic murals, vessels and tiles. He gathered up the influences of his studies abroad to add to his personal expression onto the surface of the clay and its form. Sures exhibited his work internationally and for his talents was recognized by his being awarded the Order of Canada (Companion) in 1991, the Saskatchewan Order of Merit in 2003, the Commemorative Medal of the 125th Anniversary of the Confederation of Canada for his significant achievement in the Arts, as well as the Queen’s Diamond Jubilee Medal in 2012. More recently he was the recipient of the Governor General’s Award for Excellence (2018).
For Sures clay was the most expressive artistic medium. Throughout his life, he remained fascinated with the way that the medium could reinvent itself. For this sculptor and vessel maker, throwing at the wheel was soothing for his soul. Sures often said that the richness of one’s life and spirit is reflected in their work and in turn, transferred to the viewer. Sures will be sadly missed.
Not about ceramics today! But a great celebration, indeed.
I met Ufuk and his partner, Erica Mendritzki, about six or seven years ago right after they had graduated from Guelph. They were hired to teach as sessionals at the School of Art. Over the years it was my pleasure to watch them accumulate exhibitions and win awards all the while giving the portfolio workshops to high school students hoping to be accepted into the first year class at SOA.
This year Ufuk has had his work recognized by major awards both from the Manitoba Arts Council and the Canada Council.
From MAC, he received a $5000 A-Level Individual Art Grant, then $12 500 for the MAC’s Brooklyn Visual Arts Residency, and a $950 travel grant. He was also selected for their Major Arts Grant giving him an annual total of 35,000 in funding from our province.
The Canada Council awarded him an Explore and Create: Concept to Realization valued at 50,000$ over a period of two years.
The project that he is working on is intriguing. It is called Atilla’s Mirror Shop and is about his late uncle’s mirror shop in Izmir, Turkey. He will work on that project during his time at the International Studio & Curatorial Program in Brooklyn.
Here’s a link to the ISCP page: https://iscp-nyc.org/resident/ufuk-gueray if you are interested.
Winnipeg has some amazing individuals and it has been fabulous watching this young man find his artistic legs, so to speak. It was my pleasure to have been able to work with him and Erica during the time I was Associate Director. Now it is just nice to have them as good friends!
Well done, Ufuk! And well deserved.