THE ANAGAMA KILN

The pieces are fired in a wood-burning Anagama kiln, a long, tunnel-like structure built from bricks. “Anagama” is a Japanese word meaning “cave kiln.” Mick’s kiln is a modern variation, but it operates on the same core principle: long firings with wood, where the fire path and ash do as much of the finishing as the glaze itself.

Clay reacts differently depending on its position in the kiln. The fire moves from front to back, wrapping around the pots. Pieces that face the flame are coated in melted ash and show clearer fire lines, while those further back receive less ash but more consistent heat.

ATMOSPHERE
The kiln is reduction-fired, meaning oxygen is limited at stages during the burn. This pulls oxygen out of the clay and glaze molecules, producing warmer, darker, and more variable colours than electric or gas kilns.
ASH GLAZE
As the fire burns, wood ash is carried by the flames. When it lands on the ceramic surface, it melts at high temperatures, fusing with the piece to create a natural glaze. This ash glaze is unpredictable, sometimes subtle, sometimes dramatic, always unrepeatable.
DURATION
Firing takes place over 48–72 hours. The kiln must be tended constantly, wood added every few minutes, temperatures monitored, airflow adjusted. It’s a physical and mental process that demands endurance and patience.

MULTIPLE FIRINGS

Many of Mick’s works are fired two or three times. Some pieces are placed in the kiln again with different positions to gain layers of ash or surface variation. Others are re-fired for correction or enhancement. The decision is not based on rules, but on what the piece needs.

WOOD AND FUEL

Mick uses pine, mimosa, and eucalyptus, gathered from off-cuts and waste wood from local sawmills. These types of wood burn differently, each contributing distinct qualities to the firing atmosphere and ash chemistry. Mimosa produces a clean, fast burn; eucalyptus adds oils that affect the glaze; pine contributes to a brighter flame.

The firewood is loaded by hand. There is no automated system. Everything is stoked, shifted, and adjusted by feel, guided by sound, smoke, and flame.

With love for every detail

VITRIFICATION AND COMPLETION

The clay Mick uses becomes vitrified - hard and non-porous - at around 1180°C. This is slightly lower than industrial stoneware, but perfect for maintaining the tactile quality of the surface without compromising function.

Once cooled, each piece is carefully removed from the kiln and examined. Mick looks for flame marks, ash build-up, colour shifts, warping, and surface texture. These are not treated as faults but as features of the process, honest records of where the piece sat, how the fire moved, and what occurred in the chamber.

Some pieces will be finished with grinding to smooth out the base or edge; others are left raw, showing fingerprints, glaze drips, or deposits as they were formed.