Wood fire and Hikidashi workshop East Creek Anagama

With Joe Robinson and Steve Sauer

Steve Sauer will be giving a Hiki Dashi workshop March 7 - 11 2018 at the East creek Kiln in Willamina Oregon With Joe Robinson.

wood fire
Steve Sauer is an American ceramic artist who was born in Garden City Kansas December 1945, but raised in the Pasific NW. He was trained as a painter. He switched to clay and is a self taught potter, with the exception of a hand building class with Pat McCormic and a life changing 2 week hands on workshop with the great Ruth Duckworth. Steve has traveled the world seeking knowledge and inspiration. From Every State in the Union to Mexico, Holland, Ceuta, Greece, Turkey, Iran, and many more.

Steve Sauer's Hikidashi workshop is coming to The East Creek Anagama in Willamina Oregon.

March 7 - 11 We are firing! Workshifts and prep duties are sorted out on loading day with all the other participants of the firing. Again Details for Accomadation: East Creek has two unheated cabins as well as a bunk house with a wood stove and four beds. Tent camping is another option as well as staying at a hotel in nearby Willamina, OR. Plan on a comfortable camping atmosphere. A shower and flushing toilet is available. There will be one or two communal dinners but food is mostly up to you. The pizza oven typically gets fired up everynight and there is a microwave and gas .

its your choice how much you would like to be part of the firing. Joe will be available throughout the firing and a number of Georgies employees as well.. This paragraph needs to be re-written.

Joe Robinson will be hosting the 7 day workshop.

Wood firing East Creek Anagama" March 7th and 11th 2018 At the East Creek Kiln Wiiamina Or. Price $250. To sign up contact Joe Robinson, or call Georgies to Sign Up 503-283-1353.

This is an East Creek Event, Steve and Joe will lead the firing of the east creek anagama guiding the crew therough the process of stoking and kiln managment.

This event is sponsored in part by Georgies ceramics and clay of Portland Or.

Sauer's Gallery with Wood fired Clay Artist Steve Sauer and Guests

Clicking on text below an image will give you a larger view, plus pricing & other information.

Anagama Wood firing Workshops

Anagama (Wood Fire Kiln)

Santatsugama (The 3 dragons kiln) was built with the idea of bringing together a community of potters, artists and friends. The kiln itself is at the same time simplistic and complex. Rising up like a part of the earth, heating, cooling, ever flowing.

Shino glazing

Shino is not a standard glaze, but a slip made with feldspar that helps attract flashing. It can be brushed on or dipped, finger or tool wiped or left smooth. The first Shino glaze was developed in Japan about (1568 - 1600), in kilns in the Mino and Seto areas. The glaze, composed primarily of ground local feldspar and a small amount of local clay, produced a satiny white color.

Bizen style

Bizen-ware started in the Heian Era, some say at the foot of Mt Kuma. The clay was dug of mountain earth. The common red-brown Bizen-ware was created in the forms of utiltarian, functional ware. By the end of the Muromachi Era, a clay from the inbe region of Hiyose was being used, and more production was available with the pottery wheel and soon large, partially submerged cave kilns were made.

Later, in the Edo era, small-scale kilns were integrated and large kilns of the North, South and West were built, giving rise to the six major potteries of Kumura, Mori, Okyo, Tongu, Terami and Kaneshige, which were arranged into a sort of manufacturing system.

By the end of the Edo era, the production of porcelain was flourishing.


Literally meaning to "draw or pull out" such as "pull from fire" - Pots are removed at mature tempuratures and cooled rapidly for an unique look. It also serves to give information as to the progress of the firing".


Shigaraki is a ceramic town of Koka City situated in the southern part of Shiga, and known as the home of Shigaraki ware. It has one of the six oldest kilns in Japan and is known historically for its good clay.

Night Crews

The night crew keeps the fire rising all during the night. Their shift, generally runs from 12:30am to 7:30am. They start to arrive at the kiln site before their shift starts, so that they can study the current flow and be able to combat its challenges and move forward. It's not the most gratifying shift. No power other than the roar of the dragon under lantern light. Every one works as a unit, but each with specific duties to maintain.


Wadding is a loose combination of clay and refractory bits that keep the foot of the pot off the shelf. If wadding isnt used, the pots will be glued to the kiln shelf. It's usually agreed that everyone bring their pots to the kiln already wadded. But, of course this doesnt often happen, but there is always someone there to oversee the wadding material and that every pot has been wadded. The wadding doesnt stick to the shelf like the clay does and can be easily ground off. Sometimes the wadding sticks to the pot because of ash or glaze runs, but generally it can be soaked in water, where it can be carefully ground. At times the marks from the wadding can add to the beauty or "wabi sabi" of the piece.


Stoneware clay's key raw material is either naturally occurring stoneware clay or fire clay. The mineral kaolinite is present but disordered, and although mica and quartz are present, their particle size is very small. Stoneware clay is often accompanied by impurities such as iron or carbon, giving it a "dirty" look, and its plasticity can vary widely. Non-refractory fire clay may be another key raw material.

Wood firing is a team effort


Next Ochawangama Event "All Women Wood Firing"

The next Ochawangama firing will be the 2nd annual all womens wood firing, loading June 9th and 10th 2018, camp sites available on site.


Firing costs for crew members that regularly come to works parties are $50 per cubic Foot of kiln space. Crew participants that do not come to work parties 60.00 per cubic foot. First time workshop participants $550 for 6 cubic ft includes pesonel education in the culture of woodfire

Euan The Potter on Shino Glaze

"Maintaining a heavy reduction during cooling is essential, but in the end the micro fine layer of Iron will re oxidize to give the distinctive Shino blush. Merely seeing Iron through a semi transparent glaze is not Shino. There is a lustre and warmth that springs from the natural process which makes shino special. Colours that resonate with sunrises and sunsets, that remind us of the soft warmth of human skin....any feldspar can make a Shino, given the presence of Iron either underneath the glaze or within range of the external glaze surface. It is the nature of Iron oxide that in a heavy reduction atmosphere, between the temperatures of 1090c and 1130c, over an extended period of time, it will volatise and migrate to the surface of the glaze. This must be done before the glaze cinters, sealing it and preventing the Iron from seeping through the porous glaze matrix. By painting a decoration in Iron under the glaze, or by utilizing a small amount of Iron in or on the body beneath the glaze an Iron blush can be created on the opalescent white feldspathic glaze. A wash of Iron inside a saggar surrounding the work can give a similar effect.

Euan The Potter The Principles of Shino

"Drink your tea slowly and reverently, as if it is the axis on which the world earth revolves slowly, evenly, without rushing toward the future. Live the actual moment. Only this moment is life".

"Thich Nhat Hanh The Miracle of Mindfulness"