Thin enough
for light.
True porcelain, thrown so fine it glows when you hold it to a candle — glazed in celadon and fired to 1,300 °C, where clay turns to stone and light passes through.
Fire it thin,
and it lets light through.
Below a certain thickness, porcelain vitrifies so completely that light passes clean through the wall. Hold a good cup to a flame and you will see your fingers through it. Scroll, and bring the light up behind the clay.
White clay, patient fire.
The body
Kaolin and feldspathic stone, wedged to a fine white paste — plastic enough to throw, pure enough to turn to glass in the fire.
Thrown fine
Raised on the wheel and turned back leather-hard until the wall is a whisper. Too thick and it stays dull; too thin and it slumps in the kiln.
The glaze
A celadon glaze — iron in a wood-ash base — is laid on even. In reduction it fires to that grey-green depth, pooling darker in every carved line.
The firing
Bisqued, glazed, and fired to 1,300 °C in reduction. The body vitrifies, the glaze glasses over, and the wall comes out ringing, hard, and lit.
Pieces that hold the light.
Tea bowls, cups, vases and pouring vessels — thrown thin, glazed in celadon.
Kaolin, glaze, and fire.
We throw true porcelain by hand and fire it to translucency under a celadon glaze — tea bowls, cups, vases and vessels for those who want clay that holds the light. Every piece is thrown thin, glazed even and reduction-fired. We make small firings, and we keep only what rings true.
Ask for light.
Tell us the vessel, the size and the use — we will throw a sample and send a price.