Chester Nealie, Woodfire Potter I began potting in 1964 in New Zealand, where I was influenced by visiting international potters Shoji Hamada, Tatsuzō Shimaoka, Takeichi Kawai (Japan) and Bernard Leach, Michael Cardew (UK) as well as local luminaries, Peter Stitchbury and Len Castle.
In 1978 I visited Japan where I first saw anagama (tunnel) wood kilns. I was particularly interested in the kiln of Shigaraki potter, Takahashi Rokusai, and on returning home built my first anagama based on what I’d seen.
I was excited by the possibilities of ash effects and directional flame in these kilns and felt exhilarated by surfaces evident on wood fired pots. I was keen to experiment in the ash and atmosphere of long wood firing which remains my passion and, over time, has developed my recognisable style of work.
I’ve built many wood kilns, for myself and in workshops and conferences around NZ, Australia and other countries. These overseas contacts prompted me to relocate to Australia in 1991 where I worked with notable potters Peter Rushforth, Janet Mansfield, Owen Rye, Bill Samuels, Alan Peascod and Paul Davis.
During my 30 years in regional NSW I established Goanna Ridge Pottery near Gulgong. In addition to making and firing work I was invited to ceramic events around the world and was stimulated by the invigorating camaraderie of potters from other cultures in Japan, Korea, China, Bangladesh, USA, Spain, France, Germany, Norway and South Africa.
In 2022 we moved across country to South West (WA). I’ve re-established my pottery in Augusta and have become part of the vibrant ceramics community here, especially working with Ian Dowling and Matt Almera. I’m mentoring Matt with the support of the national ‘Foster a Potter’ grant program.
I fire my kiln over several days and nights, which requires a team of firers taking shifts. Pots are loaded into the kiln to allow a path for the flame. We work to a firing strategy, stoking around every five minutes to produce ash which is picked up in the draught of the flame and spread through the kiln. We then raise the temperature to flux the deposited ash, firing under reduction which is key to producing the pot surfaces I’m looking for.
We build temperature until the kiln holds at 1300oC for some 50 hours to fully flux the ash and glazes, then seal the chambers and leave it to cool for around three days.
There is always an anxious excitement to unloading the pots and surveying the results.