Impulse Pottery is the exploration of alternative fired ceramics and can be defined through the process and the spontaneous results that derive from non-traditional firing techniques. Unlike mainstream glazed pottery sold in retail stores, Impulse Pottery focuses on one of a kind ceramics and offers people a chance to own pieces of decorative pottery unlike any other. 

Alternative fired ceramics can be grouped into four main processes: Saggar Fired, Raku, Pit Fired and Barrel Fired. These processes are each unique and pieces subjected to them hold individual characteristics by showing variations in surface patterning and color.

Although I enjoy aspects of all ceramic processes, my focus is currently aimed on the art of saggar firing. The exploration of the saggar process is rewarding not only through creation of pottery, but also the spontaneous surface effects displayed on the finished pieces.

The use of saggars in the firing of ceramics dates back to ancient methods of Asian wood firing. However, the use of saggars in the ceramic process has taken a turn in recent times. Originally, a saggar would be placed inside the kiln to hold the ware and protected it from elements that could potentially blemish the glaze, such as flying ash, open flames, gases and smoke. Today artists utilize saggars with a different approach, by introducing salts, metal oxides and organic materials into the saggar itself. The saggar no longer protects the pieces from foreign elements, instead it aides in the unique surface effects by not only holding variations of materials next to the ware, but also creating an atmosphere around the pieces for flames to dance and fumes to flash onto the pieces’ surface.

 

The alternative firing process of saggar is great for unique surface effects on decorative pottery. Because it is virtually impossible to recreate a work exactly with this process, every piece is one of a kind. One variable that is controlled is the sheen placed onto the surface prior to the final firing. Terra sigillata is a fine clay slip incorporated onto the piece before it is fired. This technique allows the artist to add minimal sheen to the pottery or burnish a glossy finish onto the piece. Unlike glazed pottery, the use of terra sigillata may add a smooth shiny finish, but does not protect the piece from leaking moisture. 

Protecting Your Piece: Through experimentation with a variety of different protective finishes, I’ve found the use of “Future Floor Finish” to work best for enriching the colorful surfaces and also protecting my finished works from discoloring. Because my pieces are left unglazed, it is important to protect the surface from sunlight and moisture. “Future Floor Finish” can be found in the cleaning aisle of any grocery store, and should be deluded down with water and applied with a soft cloth (chamois leather works great) at least once a year in order to keep the surface rich and colorful.