Here are some examples of High Fire Ware. Each piece is unique in that the potter has little control over how a piece will turn out during firing. High fire glazes react to a higher temperature then low fire glazes, so they can beautifully blend one color with another, and give a glass-like appearance to the ware. The downside is that they may drip or crack if applied too heavily. The actual placement of the ware in the kiln can affect the temperature that melts the glaze, and flashing from other pieces can alter the end result.

      I have been known to blend two different colored clays together in order to achieve a marbled effect.  After the vessels are bisqued-fired, I glaze them with a high fire (cone 6) clear glaze to allow the marbling to show. On one occaision, one of my vases was placed in the kiln near some piece(s) that had a high amount of cobalt in the glaze, so a blue 'drip' formed on my lovely white and beige vase. I think it adds character to it.

      I often work with white clay bodies such as Moon White, and Loafer's Glory (my personal favorite). Pheonix is also good, and when red clay was available at the college's studio, it was always fun to wedge some into the white clays. Which would naturally happen when the newbies would mistakenly wedge red clay on the white clay wedging table.

      I sometimes miss all the funny things that took place at that studio, but I do enjoy working in my own private place -- away from distractions, and mishaps, listening to my favorite radio station (90.5 SpiritFM). I do enjoy working with other potters, but its great to have a wheel all to yourself to be able to leave your work and know that no one will 'mess' with it while you are out, plus I love being within an arms reach of my kids. They are the best judges of my work. If something's not right, they'll let you know about it! There's no fooling them!