Throughout his life, Martin has always had a spark for creativity, interested in music, painting, drawing, and building. As a self-directed learner, Martin has had no formal training in ceramics, instead learning through friends and mentors who passed down knowledge and provided access to their kilns. Wood firing was one of the reasons Martin’s interest in ceramics grew. In 2021, he joined a wood firing workshop where he was introduced to salt glaze, DIY wood kilns, Anagama type firings, and a community of clay enthusiasts.
“Originally, I naïvely thought ceramics was a hobby that wouldn’t take up much space… however, the pieces I want to create require land, sheds, bricks, burners, buckets… and all the rest.”
Martin’s making process typically begins with creating smaller, functional wares to allow him to build his skills and familiarity with the particular form and material he is studying. From there, he experiments with alteration and distortion, often listening to RTR’s Soul Sides or the Blindboys podcast to get him “in the zone.” Next comes the firing. When asked about the tricky and time-consuming method of wood firing, Martin explained that each wood kiln design is different and thus will produce distinct surfaces on the clay creating truly one-of-a-kind pieces.
“Adjusting the clay body and wood type will alter the effects within each kiln, as will the length of firing which can range from ten hours to several days.”
Wood firing is a high labour exercise which sometimes boasts little reward, but it is a method that Martin finds is deeply connected to a sense of time and place.
Martin utilises wood available in his area, ranging from sawmill offcuts to salvaged pine, jarrah, marri, and woods repurposed from burn piles, which is both a sustainable and cost-effective approach. As wood kilns are typically built outdoors, firing is at the mercy of weather restrictions. Although wet weather is not too disruptive in Western Australia, Martin explained that with total fire bans, firing is restricted by seasons, typically permitted from May to October. In the off season, Martin returns to exploring forms and glazes, whilst taking time to rest.
“There is a lot to learn, and I find this process of trial, error, and play both rewarding and inspiring.”
When purchasing ceramics, Martin looks for both form and tactility; how it sits in the hand, feels on the lip, its weight and balance, how it is enhanced by glaze, and the use of texture and mark making. The process of wood firing and the range of variables – the type of wood, the clay, the application of glaze, and the design of the kiln – create non-repeatable pieces which is often rare to find these days. Martin believes that if he can capture some of these similar qualities in his work, the uniqueness of form and tactility, and if they are able to evoke an emotion, then he is on the right track in his creative journey.
Images supplied by artist