The modeling of a bird and its coloring require both daydreaming and concentration. During drying, the fragility of the raw clay makes me take special care. In the kiln, the birds are subjected to a metamorphosis that is invisible and escapes me.
By experience but also by affinity, I trust the fire.
With raku tongs I take out of the kiln under heat each animal, then covered with wooden shavings, a new fire kinks the skin colored with enamel. I prepare for each bird, metal legs which are going to attribute him its position, its balance, its posture.
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