Barbara Lewis : torch-fired enamel: reduction firing

We've found a good home for Matilda with some loving parents. Ray and Darlene will take good care of her, but I know Ray will probably work her pretty hard. After all, she is a 27 cu. ft. downdraft kiln!

My faithful companion, Matilda!

I remember when I first met Matilda in 1992, she was unnamed. However, I didn't want to tempt the fate of bad kiln firings, so she became Matilda. Matilda has been moved twice ... once from her home in Annapolis to our home in La Plata and then in 2005 from our home in La Plata to our home in Bushwood. I learned a lot from Matilda, most predominantly how the quality of the flame creates color reactions. These principles are still in use with me today as I torch fire enamel beads and pendants.

Susan Craton, the editor of the community section for our local newspaper, The Enterprise, came for a studio visit and interview on Friday. The photographer, Reed, came later. I felt sorry for him, actually. I am not very photogenic. I freeze up in front of a camera. Laura chides me about my "fake smiles." But I was actually able to come up with an authentic smile as I was thinking of the ribbing I take from my family.

A comment made by Susan during the interview got us both thinking. She said, "Isn't it amazing how fast things have happened?" All I could say was, "Yes." But, as I was explaining the results of a particular firing technique on a bracelet for the book she said, "It's obvious your ceramics background and understanding of glazes play a large part in what you do ... so I guess you've been building on that knowledge." And, in fact, what she says is true. One thing leads to another and while they may appear to be incongruous activities, in fact, the transition can be pretty smooth. It feels comfortable and "meant to be."

There were some slight feelings of melancholy today, but also a sense of relief that I won't have to move Matilda again. The last move left Jim with a serious bout of tendonitis in his elbow and we certainly haven't gotten any younger since 2005. But it's time to let go of that interest to allow space for the new one. Ray also took a bunch of glazes home with him, which relieved the pressure on the seams of the studio.