Wood-fired

ceramics

Miroslav Zimmermann

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Wood-fired ceramics

Miroslav Zimmermann

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01
Clay preparation
The first step is finding suitable clay, which I select based on the needs of the products. Clays differ in colour, texture, origin, plasticity, firing temperature, behaviour on the wheel, in the kiln, and the amount of impurities. Next comes its preparation, often by slaking, to separate impurities. Then, I let the clay settle so the excess water separates, which can take up to three years. Sometimes it suffices to remove the largest impurities and saturate the clay with water.
Obrázek 1
05
Firing
If the ceramics are glazed and the kiln has been cleaned and repaired after the previous firing, I can load the kiln. Each kiln, even if structurally the same, fires differently, so it is important to understand it well. I consider where to place the pieces based on the type of clay and glaze. Loading takes the whole day, involving multiple measurements, thinking, loading, and unloading. Firing begins calmly, with a prepared kiln and dry wood. I fire slowly and safely, which gives me a moment of peace and focus. The firing lasts approximately half a day, during which the pace of adding wood increases, and I must be constantly moving. After completion, there follows a day and a half of waiting for the results.
Obrázek 2
04
Glazing
It is not necessary to glaze if we achieve vitrification temperature of the clay, as the shard significantly resists absorption. For tea ceramics, for example, an unglazed vessel can be advantageous because the combination of clay and tea can offer new sensory experiences. However, this must be tested, as the result can be the opposite. Sometimes, the main goal is functionality, such as washability or a pleasant feeling when held. Glazing does not have one correct procedure; it depends on my capabilities, the glazes used, products, and intentions. The main methods of glazing are on bisque or raw shard.
Obrázek 3
03
Drying
Clay undergoes several key phases during drying, and timing is crucial if I want to continue working with the shard (the body of the ceramic vessel). For instance, if I intend to attach a handle, I must ensure the shard is not too dry, but also not attempt to attach it immediately after forming the body. Each type of clay behaves slightly differently during drying, but generally, slower drying is better. Otherwise, products can deform or crack.
Obrázek 4
02
Working with clay
Once the clay is prepared, I begin working based on what I want to create. There are many methods of working with clay, often combined together. Most of my work is done on a potter's wheel, whether kick-wheel or electric, supplemented by additional techniques.
Obrázek 5
#01 Clay preparation
The first step is finding suitable clay, which I select based on the needs of the products. Clays differ in colour, texture, origin, plasticity, firing temperature, behaviour on the wheel, in the kiln, and the amount of impurities. Next comes its preparation, often by slaking, to separate impurities. Then, I let the clay settle so the excess water separates, which can take up to three years. Sometimes it suffices to remove the largest impurities and saturate the clay with water.
#02 Working with clay
Once the clay is prepared, I begin working based on what I want to create. There are many methods of working with clay, often combined together. Most of my work is done on a potter's wheel, whether kick-wheel or electric, supplemented by additional techniques.
#03 Drying
Clay undergoes several key phases during drying, and timing is crucial if I want to continue working with the shard (the body of the ceramic vessel). For instance, if I intend to attach a handle, I must ensure the shard is not too dry, but also not attempt to attach it immediately after forming the body. Each type of clay behaves slightly differently during drying, but generally, slower drying is better. Otherwise, products can deform or crack.
#04 Glazing
It is not necessary to glaze if we achieve vitrification temperature of the clay, as the shard significantly resists absorption. For tea ceramics, for example, an unglazed vessel can be advantageous because the combination of clay and tea can offer new sensory experiences. However, this must be tested, as the result can be the opposite. Sometimes, the main goal is functionality, such as washability or a pleasant feeling when held. Glazing does not have one correct procedure; it depends on my capabilities, the glazes used, products, and intentions. The main methods of glazing are on bisque or raw shard.
#05 Firing
If the ceramics are glazed and the kiln has been cleaned and repaired after the previous firing, I can load the kiln. Each kiln, even if structurally the same, fires differently, so it is important to understand it well. I consider where to place the pieces based on the type of clay and glaze. Loading takes the whole day, involving multiple measurements, thinking, loading, and unloading. Firing begins calmly, with a prepared kiln and dry wood. I fire slowly and safely, which gives me a moment of peace and focus. The firing lasts approximately half a day, during which the pace of adding wood increases, and I must be constantly moving. After completion, there follows a day and a half of waiting for the results.
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About me

I am a potter from České Středohoří and I love my work wholeheartedly. My journey began without a potter’s wheel, crafting my first “pots” by hand and firing them in a primitive wood-fired kiln using local clay that I also sourced for ceramics. This approach remains close to my heart, and I strive to further develop it, now with the use of a wheel and a large wood-fired kiln. Collaboration with nature is crucial to me, as well as a certain self-sufficiency in the materials I use and respect for the history of our craft.

Rediscovering and deeply understanding traditional methods, techniques, and ceramic materials not only from České Středohoří but also from other regions is important to me. I consider these elements essential for achieving a deeper understanding of pottery, myself, and the world around us. My ceramics are the best expression of what interests and fulfills me. Through them, everything good and bad openly manifests, revealing my true self.

Miroslav Zimmermann

Beginnings

 

The beginning dates back to around September 2019, when there were some initial attempts at firing in an open pit, and my interest in ceramics was more of a pastime than a calling, as it is now. The first firings, the first clay processing, and the first touches. The entire process was accompanied and still is by many mistakes, dead ends, “failures,” etc. However, such are the bittersweet fruits of knowledge, which, although bitter, can serve (if properly grasped) as a good mulch for building determination and developing knowledge through experience.

First Firings

Following the instructions from the YouTube channel: Primitive Technology, I started building a primitive kiln with a rising flame. I used local clay from a nearby slope, which I also processed into ceramic material. The kiln was constructed over several days, yet the process was rushed. It is best to build in layers, allowing the previous one to set. This prevents collapse. Of course, many other elements were missing, and the clay began to crack immediately after drying.

Once completed (see photo), it managed to reach a temperature of approximately 980°C, judging by the commercial glaze for 980°C that melted.

The firings were quite wild; the tempering didn’t last long, then the temperature usually rose very quickly, and the kiln was often overstuffed.

For the last firing, I tried placing a stoneware pipe on the chimney. The temperature increased, and the glaze was melted on all pieces. However, the pipe was dead after the first firing.

What is important to me is rediscovering and gaining a deeper understanding of traditional methods, techniques, and ceramic materials not only from the Bohemian Central Uplands but also from other regions. I consider these elements crucial for achieving a deeper understanding of pottery, myself, and the world around us. My ceramics are the best expression of what interests and fulfills me. Through them, everything good and bad openly manifests and reveals my true self.

 
První pec 1
I used sticks as support for the ceiling. This actually worked quite well. The sticks burned away during the first firing, and the ceiling (although flat) held up until the end.
První pec 2
In the next phase, the walls collapsed under their own weight. The clay grate was ruined immediately after the first firing (too much water and unprepared clay).
První výpal
At this point, the grate was already gone. 🙂
Popraskaná pec
Now it's really going. Some firings were quite wild. Once, I was under direct fire from shards shooting out of the chamber.

About me

I am a potter from České Středohoří and I love my work wholeheartedly. My journey began without a potter’s wheel, crafting my first “pots” by hand and firing them in a primitive wood-fired kiln using local clay that I also sourced for ceramics. This approach remains close to my heart, and I strive to further develop it, now with the use of a wheel and a large wood-fired kiln. Collaboration with nature is crucial to me, as well as a certain self-sufficiency in the materials I use and respect for the history of our craft.

Rediscovering and deeply understanding traditional methods, techniques, and ceramic materials not only from České Středohoří but also from other regions is important to me. I consider these elements essential for achieving a deeper understanding of pottery, myself, and the world around us. My ceramics are the best expression of what interests and fulfills me. Through them, everything good and bad openly manifests, revealing my true self.

Miroslav Zimmermann

Beginnings

 

The beginning dates back to around September 2019, when there were some initial attempts at firing in an open pit, and my interest in ceramics was more of a pastime than a calling, as it is now. The first firings, the first clay processing, and the first touches. The entire process was accompanied and still is by many mistakes, dead ends, “failures,” etc. However, such are the bittersweet fruits of knowledge, which, although bitter, can serve (if properly grasped) as a good mulch for building determination and developing knowledge through experience.

First Firings

Following the instructions from the YouTube channel: Primitive Technology, I started building a primitive kiln with a rising flame. I used local clay from a nearby slope, which I also processed into ceramic material. The kiln was constructed over several days, yet the process was rushed. It is best to build in layers, allowing the previous one to set. This prevents collapse. Of course, many other elements were missing, and the clay began to crack immediately after drying.

Once completed (see photo), it managed to reach a temperature of approximately 980°C, judging by the commercial glaze for 980°C that melted.

The firings were quite wild; the tempering didn’t last long, then the temperature usually rose very quickly, and the kiln was often overstuffed.

For the last firing, I tried placing a stoneware pipe on the chimney. The temperature increased, and the glaze was melted on all pieces. However, the pipe was dead after the first firing.

What is important to me is rediscovering and gaining a deeper understanding of traditional methods, techniques, and ceramic materials not only from the Bohemian Central Uplands but also from other regions. I consider these elements crucial for achieving a deeper understanding of pottery, myself, and the world around us. My ceramics are the best expression of what interests and fulfills me. Through them, everything good and bad openly manifests and reveals my true self.

 
První pec 1
I used sticks as support for the ceiling. This actually worked quite well. The sticks burned away during the first firing, and the ceiling (although flat) held up until the end.
První pec 2
In the next phase, the walls collapsed under their own weight. The clay grate was ruined immediately after the first firing (too much water and unprepared clay).
První výpal
At this point, the grate was already gone. 🙂
Popraskaná pec
Now it's really going. Some firings were quite wild. Once, I was under direct fire from shards shooting out of the chamber.

Feel free to contact me anytime

Miroslav Zimmermann
IČO: 14043912
Adress: Vlčí 37, Chlumčany, 44001
Tel. no.: +420 606 832 539
Email: mirekzimm@gmail.com

Feel free to contact me anytime

Miroslav Zimmermann
IČO: 14043912
Adress: Vlčí 37, Chlumčany, 44001
Tel. no.: +420 606 832 539
Email: mirekzimm@gmail.com

Miroslav Zimmermann

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