This Sung Jar in Copper Penny Glaze and Natural Ash Glaze is a perfect example of “letting the kiln be the paintbrush”. The Natural Ash Glaze is produced from a combination of hardwoods and pine burned in the kiln. The Copper Penny glaze is applied to the pot before the wood firing. The ash will blend the glazes during the long firing process creating a drip effect. Measuring 6.75”w x 12.25"h.
Please Note: What appear to be white spots on the surface are reflections from photo lighting.
The Natural Ash Glaze is produced by relying on the wood-firing process as the glazing agent. Most pieces dedicated to this glaze are placed in the kiln with little or no glaze applied to the exterior. During the firing process, the wood is stirred occasionally in the firebox to give flight to the flakes of ash that are produced during the firing. When these small flakes become airborne, they cling to the exposed areas of the pots and accumulate over a period of time. As the kiln reaches about 2300 degrees Fahrenheit, the wood ash will liquefy and begin to run down the side of the pots, as if one had poured honey on the vase.
Copper Penny Glaze is influenced by the amount of iron in the clay as well as the formula of the glaze. The range of color is dependent on the atmosphere of the firing in the kiln. During the early stages of a firing, at 1600° F, we purposely control the furnace to burn inefficiently creating carbon inside the kiln. The reaction of carbon, over a period of several hours, with the iron in the clay will create warm tones in the glaze and iridescent or opalescent qualities to the surface. The presence of wood ash coming in contact with the glaze accentuates the glaze with flashes of apple green and yellow tones to deeper brown shades on areas of the pot. The name copper penny was chosen after many customers, over the years, commented that it looked like the surface of a penny.
This piece is hand-signed by Ben Owen III with the year made (2024).