Raku Firing is one of my favorite types of firings I have learned because of the many different processes, glaze adjustments and tinkering you can do to obtain a result that can be surprised by.  Since the firing time is short, I fire my Raku pieces multiple times. 

This series was fired with a Copper Matte Stain (80/20). Usually the firing temperature for copper Matte is lower than that of  the average range; I fire the first firing to the latter and quick cool it in a water bath,  Re-glaze the piece in a Copper based Boron fritted glaze and fire it for a second time slightly hotter than the mean Raku range.

My base for the Copper Luster Base mainly consists of two raw materials and a precise copper oxide measurement and variations of added secondary oxides such as iron oxide or cobalt.  When the matured piece is reduced in combustibles, the initial ignition creates degrees of reduction unique to each piece.

These pieces are beautifully flashed with a rainbow of rich metallic lusters.  I especially appreciate the rich deep crimson and a range of blue to blue green hues.  This series is rustic and the textures in places and silky smooth in other rather organic. 

These are purely decorative and are made to be admire to the point you can’t help but to want to pick the piece up so you can feel and look at the many different angles and faces as they change in different sources of light. 

Every piece of Artwork I crate is a unique reflection of a passion for clay Introduced to me by a talented professor; with her  her persistence in seeing the spark she has and passing on her love for the clay that she said is running through her veins.  Passing it to those who appreciated and recognized who had a real talent.  

When I stepped into her classroom i had just learned that my mortality had been determined.  I needed an easy class to get me through one semester to process.  This was it...easy.  Not only was in not easy.. it would teach me the tools I needed to copy and accept and transcend my crisis.
Jane, a graduate of Alfred University took her class very seriously.  I didn't open a single box of wet clay.  I opened a 50 lb bag of silica, Red art, Hawthorn, and EPK and I put about 3" of water in a big blue rotating machine.  And I mask on mouth made the clay body I had help formulating through chemical empirical formula.  What.. I didn't sign up for chemistry. 
Not only did we make out own, we were to test its shrinkage, it;s vitrification and it's plasticity for adjustment.  The we wheel throwers were made to learn how to center and throw and only were to make cylinders and cut then in half vertically until we passed her inspection.. For me that was about 500 lbs for the next three days. 

Of course there were a few people with enough incite to notice that that this was not just a way to thin her class but a way to ignite the same spark that she has for the clay.  if she say that. she would accomplish what she as there for.  To pass to her students her  love and knowledge for it, the techniques of glaze testing, formulation, mistake correction, body fitting, and  I could talk for days about reduction at cone 10. She would see when to let go when she would see a tiny bit of our own unique style emerging.

 I know I was a test to her passion to leave a legacy many times.  Especially after cracking a full kiln firing at 500 degrees when it was also filled with her commissioned show pieces for that weekend.  Or maybe the time I decided to get adventurous with a clay body knot knowing I'd learn the definition of a defloculant the next time she spoke to me.

Its the subtle pushes that make such a huge impact on the rest of my life and my own need to share life through each little detail in my own work.  Not all things in life or pots can be resolved completely.  The rim must fit the foot but sometimes the damn spout just drips after it pours.  But not every unresolved piece lands purposely on pieces on the floor.  I thought you deserved to know and thank you.......Jane.

Introduction

J.Walker Pottery.. When I first was introduced to clay in college, I figured I'd take an easy class because of some unsettling life changes I'd gone through at the time. Little did I know:

At Georgia Southern University One would not expect to find a graduate of Alfred University at the wheel of the curriculum. That semester, I found it was not a crypt course but an avenue to shine.  

Every single task (from formulating a personal clay body,  to throwing techniques, calculating glazes, and firing atmosphere exploration) All I found out were art-forms within themselves.  


It has been 25 years since I put my clay knowledge on the back burner stating "I cant make a career out of this!"  Well... I know have decided I need to make a career out of this.. why?.. Because I love it. 

Here are some pieces I have just recently completed: