Playing with Fire: Japanese Wood-Firing Technology in the Russian Outback / ITech content

Contents:

• Marina: ceramicist and owner of a huge oven
• Svetlana: organizer of Shelot miracles

Ceramics have been used by people for thousands of years to create a variety of objects, such as pots, vases, plates, and jewelry. The ceramic firing process involves the interaction of clay, hands, and fire, resulting in the formation of both applied and decorative pieces. There are many firing methods, which depend on the type of clay, the technologies used, and the temperature regime. One of the rarest and most unusual types of firing in Russia is high-temperature wood firing. In this case, pieces are fired at temperatures of 1300 degrees Celsius, achieved in anagama and noborigama kilns. Such kilns are also available in Russia, opening up new horizons for ceramists and ceramic art enthusiasts.

We discussed ceramics, firing techniques, and community development with ceramist Marina Akilova, who built a kiln on a farm in Pskov, and Svetlana Stepanova, founder of an art residency for ceramists in the Vologda region.

Marina: Ceramist and Owner of a Colossal Kiln

Marina Akilova first learned about wood-firing technology in 2009 at a ceramists' symposium in Latvia. At the event, she saw pieces made using this unique technique and thought about how exciting it would be to participate in the firing process herself. At the time, the possibility of realizing this idea seemed unlikely. Wood-fired ceramics, renowned for its ability to impart unique textures and hues to ceramics, has captured the attention of many ceramists and artists worldwide. Since then, interest in this technique has only grown, and many have begun to explore its potential to create original works of art.

In ceramics, several firing types are distinguished, classified by the method of heat generation and temperature conditions. Until the mid-20th century, ceramics were fired using open fires: in kilns, bonfires, and forges. These methods allowed for the necessary temperatures to be reached for firing clay objects such as tableware and decorative pieces. Firing plays a key role in the ceramics creation process, as it ensures the strength and durability of finished products. Today, various firing technologies are used to control temperature and time, significantly improving the quality of the final product.

Modern technology has replaced live flame with electricity and gas in ceramic production. The heat generated during the firing process transforms soft clay into a durable material and also helps create the desired color and texture. However, even experienced ceramicists sometimes cannot predict the final result, especially with high-temperature firings. This makes the ceramic-making process exciting and unpredictable, highlighting the uniqueness of each piece.

High-temperature firing in kilns heated to over 1000 degrees Celsius is a unique method of clay processing. This technique came to us from Japan, where ancient artisans observed with interest their Chinese colleagues, who had access to glazing technology. Glaze imparts a vitreous sheen, a variety of colors, and a unique character to the pieces. Using high temperatures during the firing process allows for the creation of strong and durable ceramic pieces that attract attention for their aesthetic appearance and functionality.

The Japanese, eager to emulate their neighbors' success, kept the fires burning for hours in their anagama and noborigama kilns. Although they failed to replicate earlier achievements, they discovered a unique approach to working with ceramics. Through experimentation, they discovered that at high temperatures, wood ash turns into a glaze, creating a thin, glossy film on the surface of the ceramic. This unexpected method not only changed the perception of ceramic art, but also opened up new horizons for creativity and self-expression in Japanese ceramic craft.

Ten years passed between Marina Akilova's introduction to the theory of wood-fired ceramics and their practical application. In 2019, she sent her ceramics to be fired in Gavrilov-Yam, a small town near Yaroslavl, home to large kilns on the factory grounds. It was here that classical Japanese kilns were first introduced in modern Russia, marking an important step in the development of ceramic art.

High-temperature wood-fired ceramics involve maintaining the kiln temperature at 1300–1350 degrees Celsius or even higher for several days. This is necessary to allow the ash to melt under the heat and settle on the ceramic pieces as a glassy dew layer. The duration of the firing directly affects the density and thickness of this glassy layer. As Marina explains, this process creates ceramic pieces that resemble natural elements such as moss, rocks, withered greenery, and grass. These unique works blend harmoniously into the natural landscape and look beautiful both indoors and outdoors. High-temperature ceramic firing allows for natural colors and textures, making each piece truly unique.

With the onset of the COVID-19 pandemic, Marina and her husband decided to build a wood-fired kiln themselves, relying on advice from friends and information found online. Their home is located in a secluded area, providing peace and quiet and minimizing contact with neighbors. For locals, a large kiln operating for several days in a row might not seem the most welcoming sight. "Having your own kiln is extremely important when you're serious about your craft. I'm currently on my 31st firing. “Each firing requires several days of painstaking work, since it is necessary to constantly add wood, maintaining a high temperature,” Marina shares.

Marina offers unique, half-height vases decorated with ridges and crosses. These exquisite pieces, crafted from heavy clay, look like soft panels and are ideal for display. Each vase is not only a decorative item but also a work of art, capable of bringing individuality to any interior. Marina sells and ships her work, making it easy for art and design lovers to acquire these original pieces.

Svetlana: Organizer of Shelotsky Miracles

Svetlana Stepanova shares her unique experience: "This feeling cannot be compared to anything - when you find the last piece of the puzzle and understand that you are in the right place." In June 2016, she arrived in the Vologda village of Shelota. In this picturesque spot, beneath the walls of an ancient church, a round dance dedicated to the celebration of Trinity Sunday had unfolded. Local residents organize traditional festivities here, which differ from typical public events—they are sincere and intended for the community, not for show. Svetlana found herself in an unusual social circle. At that moment, she thought, "It's good that they're holding my hand, because I can't feel the ground under my feet anymore." In September, Svetlana purchased a house next to the church and stayed in Shelota. Two years later, she built a wood-burning stove near the house.

Before moving to the village of Shelota, Svetlana was interested in ceramics as an amateur. Once a week she visited artists in St. Petersburg, where she spent most of her life. She gradually moved away from active ceramics and realized that she enjoyed organizing conventions and meetings more. Svetlana strives to create a space for potters, ceramists, artists, and artisans where they can gather, share experiences, and discuss important topics such as working with clay and firing products.

Svetlana jokes: "You don't have to go to the Stroganov Academy or the Stieglitz Academy, because all these wonderful masters and professors now teach classes on my veranda." Svetlana has agreements with art academies and art schools to host summer student internships. Professors and students gather on the veranda of her country house, creating a unique atmosphere for learning and creativity. This allows students to gain practical experience and interact with professionals in an informal setting.

A visit took place in the village of Shelota Heida Nonnenmacher, Chair of the Artists' Association of Baden-Württemberg, as well as ceramists from Syria, Lebanon, Yemen, and the United States, were among the participants. Initially, it was planned to invite French expert Claude Assage to build the anagama kiln. He had previously overseen the creation of a similar kiln in Gavrilov-Yam, where Marina Akilova and Svetlana Stepanova were also present. However, Vologda ceramists, led by Vladimir Kholshchagin, offered their assistance in this project. Kholshchagin has experience building similar kilns in Norway, which significantly reduced the project's costs.Svetlana shares her impressions of meeting people. During these interactions, whether at events or around a shared table, interesting conversations arise that can lead to the creation of festivals, residencies, conventions, and new projects. She calls these moments "Shelot miracles." Such interactions open up new horizons and opportunities for joint creativity and the implementation of ideas.

Svetlana plans to build a second kiln, which will be able to accommodate two to three times more products. In addition, she intends to open a gallery of contemporary art. "I can already see what this gallery will look like. During my time here, there wasn't a day or a minute when I went outside and didn't feel a sense of inner delight." Svetlana is confident that the new space will attract art lovers and become an important part of the region's cultural life. At the center of the village is an impressive clay letter "Ш," which has become the symbol of the ceramicists' village. This sculpture was created at one of the local residences. Over the past eight years, since Svetlana's arrival, eight ceramic artists have purchased homes in Shelota. The anagama wood-burning stove has become a magnet for creative people, uniting them into an active community.

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