This group of vessels are ritual vessels for as yet unassigned rites. They have the function of a vessel, with all those connotations, and the lid often has a house as its finial. The house itself is a vessel as well—symbolically and literally. It is designed for burning incense, nodding to that ritual purpose. The roof is removed, and an incense cone is placed inside and lit. The smoke rises from the chimney, giving life to that small image of the domestic—a home, not just a house.

The candle-holder vessels signify another potential for ritual. These vessels are bestowers of ceremony, giving ritual significance to the contents of the vessel, whatever they may be, as the smoke sanctifies and formalises their storage with the multitude of sensory associations of a rite. They are a further exploration of my ethos, where I hope to make objects that bring joy to the everyday—giving significance to daily rituals and drawing attention to the beauty of the quotidian. They are special but rooted firmly in the domestic, with the house being the central symbol.

The lion dogs, Koma-inu, which serve as alternate finials, can be read as recognisably familiar—or more mythological, as dog, lion, or dragon. They are guardians nonetheless, and mark the sanctity of protecting the home.

Wood firing is central to these vessels—an ancient, and the original, way of firing ceramic. It bestows a surface with nuanced variety unattainable by any other technique. The variations in colour and texture on different sides of pots are affected by the most spontaneous and whimsical of factors: the kiln pack, the type of wood burned (different trees pick up different minerals and produce different ash effects), even the weather can affect the firing.

Burning wood not only produces heat, but also fly ash and volatile salts. Stoking occurs around the clock until a variety of variables are achieved: the appearance of the fired pots in the kiln, the temperatures reached and heatwork sustained, and the amount of ash deposited. Wood ash settles on the pots during firing, and the complex interaction between flame, ash, and the minerals in the clay body forms a natural ash glaze.

This glaze may show great variation in colour, texture, and thickness—ranging from smooth and glossy to rough and sharp—depending on the type of wood burnt and the way the kiln is fired. The placement of pieces within the kiln also has a great impact. Pots closer to the firebox may receive heavy coats of ash or even be submerged in embers, while others deeper in the kiln may be softly brushed by ash effects.

The varying positions of the pots in the kiln mean that factors such as temperature and oxidation/reduction differ, also affecting the final surface. Additionally, the way pots are placed in relation to each other affects the flame path—and thus, even pots placed in the same part of the kiln can vary. When loading the kiln, one must imagine the flame path as it flows through the chamber and, with this awareness, try to paint the pieces with fire.