Wood kiln, building (summer, 2000) in San Cibrián de Ardón (León, Spain)
More pictures, kiln map and woodfiring
José Antonio Sarmiento is known in the world of contemporary ceramics as one of those artists who have specialised in wood firing using kilns at high temperatures. These kilns, called anagama or noborigama in Japanese, are the heritage of a pottery tradition which died out following the industrial revolution, but which have been revived as a result of artistic considerations, particularly from the 60s onwards. Since 1980, José Antonio Sarmiento, has worked full time with ceramics. Looking for the authentic essence of pots, he has preferred to concentrate on the latter, inspired by the landscape in which he lives and works, and always questioning and eliminating the boundaries of artistic disciplines through his heterodox artistic vision. This ethos and style of working is very close to certain Japanese pottery traditions.
On his own words, we can understand his expression with: «Clay, air and ash»
«My work transforms earth into ceramics. I ply it with my hands to give it shape. I fold, stretch, stick and cut it, or I shape it on the potter’s wheel: a conscious decision to return to craftsmanship.
My kiln has four chambers, and reaches a temperature of 1300°C thanks to the slope on which it is built.
Since 1988 I have worked with wood fired kilns at high temperatures (1300°C). Seven years ago, I designed and built a bigger wood fired kiln in order to be able to fire for longer periods, from four to seven days and nights. One or two assistants usually help me on shifts. I designed and built the kiln basing my ideas on the Japanese anagama and noborigama wood fired kilns.
Every 7 to 10 minutes the fire is stoked with more wood. The shape and colour of the fire reveals its temperature and character. Sometimes, a pot is taken out while it is still glowing red hot, which allows us to hold and contemplate it during a particular moment. Everything is prepared beforehand: the pots are strategically positioned in the kiln, near the door. Outside, they are placed in an area where they are protected.
The decision to draw the anagama firing to a close is based on an assessment of the ash which has accumulated. Once this first stage has finished, five more hours are needed for each chamber of the noborigama to reach the desired temperature of 1300°C. The pots are inside, and it is essential to take care that their evolution in the flame is successful. The kiln has taken a week to cool down, and now is the moment when the bricked up doors can be opened. The pots have been brushed by flame, which both gives them new life and leaves its mark on the clay. It is the language of fire that I use to accomplish my work. But techniques and materials are not the most important considerations in ceramics; more important is the choice of shape, and how mind and hand work together in the process».
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