Weaving a Raku Basket
This particular piece started as a slab of clay. I worked around a mold to help me keep the shape as I was working with the clay. It is always exciting to see something come together as you work. Many times I start with a general idea of what the final piece will be but it can "morph" as I work with it.
Once I have gotten the shape I want, I let the clay firm up a little before I make the holes at the top. Once I have applied some finishing touches I put it aside to dry slowly. In Arizona that is very important as if it dries to quickly it can crack. Once dried I then bisque fire it. I am now ready to determine what Raku glaze I want to apply. There are many to choose from. This particular one is White Crackle. I love the simplicity it gives the piece.
Firing the White crackle is a little different than the other glazes I use as once it has fired to the correct temperature you pick up the pot from the kiln and place it putside the kiln to let it cool off. You can hear the pinging as the glaze cools. The longer I let it cool the more crackles I get. It is then put it into my reduction chamber which is a garbage can filled with combustible material which can be newspaper, pine needles or sawdust to mention a few.
When I start to weave I find the White Crackle always demands a more native look and so most times I use black for the spokes and weavers with a hint of red and the beads are usually bone. Very much like I did here. The most important thing in weaving any piece is to know when quit, much like the painter.
Many people how long does it take to make this. It can't be answered as there are so many elements but more importantly the time relates to ones skill and experience. I have 17 years of weaving that have helped me to create this and all of my pieces.
Tags: Gallery Raku firing Weaving Raku Basket