The Kiln in its entireity is prettymuch exactly what the title suggests and in this instance its
a kiln specifically designed to fire up ceramics in a largely experimental enviroment. The project was a part of Avamaa 2012 – Building MoKSville symposium held at the estonian village of Mooste.
The following description of Avamaa is taken from the official webpage of the event.
AVAMAA is a unique symposium for art and ideas hosted every summer by MoKS, an artist run organization and residency center in the rural village of Mooste Estonia. AVAMAA encourages creative interventions in the local context and the exchange of ideas through the platform of a living workshop. AVAMAA roughly translates as ‘open land’. The central idea for AVAMAA 2012 is to create a temporary “village” or camp we call Moksville, out of affordable recyclable and locally sourced materials.
The central idea of the syposium was for the artist to contstuct their own part of the village out of the goven materials. A precept from which I admittedly deviated a bit and chose to construct my frunace out of found waste material instead. The village ended up having a restaurant, a diy windpowerplant, a pingpong table/movie theater, pagoda, sleeping tents and ofcourse my construction: the fully working ceramics kiln made of scrap materials in which we managed to fire up claywork made by the local children and other workshop attendants.
The final idea had dawned to me briefly before the deadline of proposals to this symposium as I was writing another application for another exhibition. The unrealized piece would have consisted of creating a stylized stoneage statuette out of waste materials. I had allso had some experience on working with fire on a previous collaborative effort in Skoki, Poland, in the form of designing and executing a fully functionin Ugristyle saunatent from yet again improvised materials.
From these elements it was no long mental trip to deciding I wanted to experiment on building a functioning ceramic kiln. I had no previous experiment on working with clay or constructin other such devices so the process itself served itself as a fundamental learning and discovering experience for this kind of work. I had some schetces of more typical forms of moder kilns which I adapted into the framework visualizing the outcome but largely it went by on the lines of This seems about right-type of thinking. The end result was a success. And after I had stood by the thing for 12 hours keeping up the fire with some unholy amout of wood which I had gathered during the week we had our clayworks fully fired and people attending could take home their pieces as souveniers.
One added personal bonus of this endeavor was that it sparked an ongoing passion for me towards clay as a material, which I continued from then on to use in other pieces to come.
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