NC Mountains Pre-Conference Artist and Organizer, Conference Organizer and Demonstrator
Joey Sheehan works in the rugged Appalachian mountains of Madison County, NC. His work is fired in my two chamber wood kiln that he describes as the "double barrel snub nose train with a cat in the back."
Sheehan's pots are a combination of functional glaze ware and sculptural work with surfaces and forms that exemplify the wood fire process. Sheehan calls his kiln the Golden Antelope. It is a two chamber wood burning kiln and is designed after the extended throat bourry box kilns described in Steve Harrison's book Laid Back Wood Firing. He describes the kiln as a double barrel snub nose train chamber in the front with a catenary in the back. The front chamber is nitty and gritty with a lot of ash and wood in direct contact with the pots, while the back chamber is essentially a reduction glaze chamber with some flashing.
He strives to create extravagant and dramatic surfaces with heat, flame, ash, and occasionally soda in the front while still creating large bodies of clean glaze ware, subtle flashing throughout and fly ash in the back.
Details:
NC Mountains Pre-Conference Artist and Organizer, Conference Organizer and Demonstrator
Joey Sheehan works in the rugged Appalachian mountains of Madison County, NC. His work is fired in my two chamber wood kiln that he describes as the "double barrel snub nose train with a cat in the back."
Sheehan's pots are a combination of functional glaze ware and sculptural work with surfaces and forms that exemplify the wood fire process. Sheehan calls his kiln the Golden Antelope. It is a two chamber wood burning kiln and is designed after the extended throat bourry box kilns described in Steve Harrison's book Laid Back Wood Firing. He describes the kiln as a double barrel snub nose train chamber in the front with a catenary in the back. The front chamber is nitty and gritty with a lot of ash and wood in direct contact with the pots, while the back chamber is essentially a reduction glaze chamber with some flashing.
He strives to create extravagant and dramatic surfaces with heat, flame, ash, and occasionally soda in the front while still creating large bodies of clean glaze ware, subtle flashing throughout and fly ash in the back.
Details: