My passion is for the process; borrowing a lump of the earth to create a form…and then allowing the surface to be “decorated” by the random markings left by the interaction of the heat and the horse hair and nothing else.”
Rupa Palasamudram has been exploring clay for 20 years, since she first started taking classes at a community center in Boulder, Colorado. She is a studio potter drawn to the wheel with a primary focus on making day-to-day functional ware, and enjoys altering wheel thrown pieces to create one-of-a-kind work with function and aesthetics in mind. She plays with integrating color and textures into her work, while experimenting with alternative firing techniques. Rupa is a teacher at heart and loves to teach both kids and adults. She has been a ceramics instructor at Kirkland Arts Center since 2011, teaching both wheel-throwing and handbuilding to beginning and intermediate level students.
What is Horse Hair Raku?
The process begins with forming a piece by throwing on the wheel or sculpting with clay. Once the piece has dried completely, a super fine clay slip called terra sigillata is brushed on and buffed. This step is repeated four to five times until a desired sheen is obtained. The piece is then fired once to make it durable. It is fired for a second time in a Raku kiln, to reach temperatures of 1200-1400F quickly. Once this temperature is reached, the hot kiln is opened to extract the pot while still glowing hot. Horse hair is immediately and carefully placed on the pot. The horse hair singes and burns onto the surface of the hot pot, leaving behind permanently scorched, intensely black smoky patterns. These beautifully random markings can never be totally controlled, and the results must simply be accepted as a gift bestowed by the elements. Pieces fired in this technique cannot be used to hold water.
What does Horse Hair Raku mean to me?
I find the technique of horse hair raku both mysterious and captivating. My passion is for the process; borrowing a lump of the earth to create a form, making and applying the terra sigillata and polishing the surface to a high sheen, and then allowing the surface to be “decorated” by the random markings left by the interaction of the heat and the horse hair and nothing else. For me, leaving my work and its surface to the randomness of the process is a challenge and a need at the same time. Within this ancient process there have been several opportunities to add new twists, such as my addition of mica powders to obtain a shimmery smooth surface, which have been enjoyable and exciting. This process with its historic beginnings and ancient qualities has humbled me, and led me to discover new ideas and meaning in the process.
Artwork available for purchase
Instagram: @rupapalasamudram