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Raku Sculpture Tree Head

Raku Sculpture and Raku Pottery created in Switzerland
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Original Raku Sculpture and Raku Pottery Created by Artist

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Raku Sculpture Tree Head

The Tree Head was created in the studio
of my brother Milton in La Chaux de Fonds, Switzerland and fired in the Jura mountains of Switzerland.
The sculpture is made with a heavy grogged Raku clay and fired in a Raku style that produces the unique affects seen in the picture.
The smoked color and crackle lines are typical
of this style of pottery .
It is approx. 7 inches high

be sure to visit my store where you
will find a variety of handmade items
such as sculptured handle stoneware mugs, porcelain Angels, stonewares, sand castles and more!
and for Raku Sculptures for sale check
out the Raku Main link.

Raku as a sculptural technique is relatively new compared to the origin of itís inception and even older when considering the birth of itís inspiration. Originally the Raku technique was used to create tea sets for the Japanese tea ceremony. In the 16th century Raku tea service pottery was developed by Chojiro the son of pottery makers Ameya and his wife Teirin. Chojiroís work so pleased the ruling territorial lord that he was given the title symbol ďRakuĒ from the Chinese character Kanji meaning enjoyment, pleasure, contentment. The Raku technique is that of a very fast kiln firing to a lower temperature maturity. When maturing temperature is reached (usually from 1750 to 1850 degrees F) the ware is removed immediately and cooled in water. The result is an economical, aesthetically pleasing pottery that does not cause an offensive sound if it should be bumped. In the 1920ís Bernard Leach, a well known English potter, learned the Raku technique while in Japan. When he returned to England he experimented with smoking the pottery in combustible materials thus introducing the style well known today. My work uses this smoked style to create a unique and spontaneous look to sculpture inspired by inner thought and peaceful reflection. There is a certain freedom that attracts me when working with Raku. Perhaps it is the spiritual foundation from which Raku originated or maybe itís the necessary relinquishing of control in the firing. Or it may be just the simplicity of black and white symbolically represented. A Yin and Yang of its potential to express. With Raku clay I find myself seeking a release of a contrived expression and drawn to inner revelations. The journey to search for a true voice in 3 dimensions has its point of reference in my Raku sculpture work. My conversation is simpleÖ.here I am
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