{"title":"Ubud forest","description":"\u003cp\u003eIn February 2026, I spent two weeks at GAYA Ceramic Art Center in Ubud, Bali, in a wood firing workshop led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing itself was led by master ceramicist Hillary Kane.\u003c\/p\u003e\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. No glaze was applied to any piece. Everything you see on the surface is ash, clay body, and clay slip — the result of fly-ash landing on the work and melting into it at extreme heat. The loading method was Kibuta: firewood packed tightly into the firebox to restrict oxygen and push volatile flames through the chamber, creating the flashed colors and natural ash deposits on the surface.\u003c\/p\u003e\u003cp\u003eThe firing ended with reduction cooling — oxygen deliberately restricted as the kiln cooled, causing deep color shifts and the faint metallic quality in some surfaces.\u003c\/p\u003e\u003cp\u003eThis was one of the last firings in this kiln. GAYA is relocating.\u003c\/p\u003e\u003cp\u003eThe collection is named for what was in the air during those two weeks. The forest. The humidity. The smell of coffee wood burning through the night.\u003c\/p\u003e","products":[{"product_id":"mug-bali","title":"Mug: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eHolds a full coffee or a generous pour of tea. Comfortable in the hand.\u003c\/p\u003e\u003cp\u003e12 × 12 cm · Holds 420 ml (~14 oz)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eThis cup was placed directly under a side stoker — the opening where wood is fed in during firing. Cups are rarely positioned there. A piece of wood could easily strike and destroy it. This one survived. The risk is visible in the surface: dramatic flame markings, heavy ash deposit, a depth of color you only get from that kind of exposure.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1280°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51973667422504,"sku":null,"price":88.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_2397_1.jpg?v=1781169670"},{"product_id":"chawan-1","title":"Chawan: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eKurinuki stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA chawan is a tea bowl — one of the oldest ceramic forms in Japanese culture, traditionally used for preparing and drinking matcha. Works beautifully for matcha, but there are no rules. Use it for anything.\u003c\/p\u003e\u003cp\u003e8 × 13 cm · Holds 445 ml (~15 oz)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eKurinuki is a carving technique: you start with a solid block of clay and cut the form away from within, shaping a vessel by removal rather than rotation. Almost all of my work is wheel-thrown. This is an exception, made during the Bali workshop under the guidance of John Dix, a ceramicist based in Japan who is known for this technique. The surface carries the marks of the carving and the fire equally.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1280°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51973674008872,"sku":null,"price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_2408_e8be3ad8-71ec-40c0-bae5-518c78c5d5a1.jpg?v=1781713602"},{"product_id":"chawan-prima-bali","title":"Chawan Prima: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eKurinuki stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA chawan is a tea bowl — one of the oldest ceramic forms in Japanese culture, traditionally used for preparing and drinking matcha. Works beautifully for matcha, but there are no rules. Use it for anything.\u003c\/p\u003e\u003cp\u003e8 × 10 cm · Holds 415 ml (~14 oz)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eKurinuki is a carving technique: you start with a solid block of clay and cut the form away from within, shaping a vessel by removal rather than rotation. Almost all of my work is wheel-thrown. These are rare exceptions, made during the Bali workshop under the guidance of John Dix, a ceramicist based in Japan who is known for this technique.\u003c\/p\u003e\u003cp\u003eThe flame marks on this one are unrepeatable. The name carries the same meaning as the brand: the moment just before.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1280°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51973674926376,"sku":null,"price":68.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_2424_1_2ee68582-ec6e-42a5-afe8-27a4472d2715.jpg?v=1781170752"},{"product_id":"cup-bali-no-1","title":"Cup No.1: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eHolds a full coffee or a cup of tea.\u003c\/p\u003e\u003cp\u003e10 × 10 cm · Holds 265 ml (~9 oz)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eTwo sea shells pressed into the clay during making. They burned away in the kiln. What remains are the prints — shallow impressions circling the body, caught in the ash surface. Easy to miss. Worth looking for.\u003c\/p\u003e\u003cp\u003eDeep terracotta-red from the flame. Sits on a faceted square foot. The rim warped slightly in the firing.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1280°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51987963117864,"sku":null,"price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3329.jpg?v=1781706352"},{"product_id":"cup-bali-no-7","title":"Cup No.2: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA small cup, right for espresso or a short pour of tea.\u003c\/p\u003e\u003cp\u003e9 × 9 cm · Holds 175 ml (~6 oz)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eA wide ash cap covers the upper third. Below it: terracotta and iron-red where the flame ran long. The throwing rings are still visible in the surface — left unsmoothed, they record the making.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1280°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51987966656808,"sku":null,"price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3334.jpg?v=1781706370"},{"product_id":"vessel-ubud-forest","title":"Bottle: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA small bud vase.\u003c\/p\u003e\u003cp\u003e29 × 10 cm (11.4 × 3.9 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eThis vessel was placed in the kiln on its side. The true color of the clay is the warm brown you see on the underside. To stop it fusing to the kiln shelf, three sea shells were used as wadding underneath — they burned away completely in the firing, leaving their prints pressed into the clay where they held the piece. The grey across the top is fly-ash that landed and melted into the surface as the kiln was fed. The single dot on the opposite side is a mark left by a piece of wadding.\u003c\/p\u003e\u003cp\u003eAt the bottom: impressions of dried mushroom coral, stamped into the clay after trimming.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988040941864,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/vessel_ubud_3345.jpg?v=1781711343"},{"product_id":"bottle-ubud-forest","title":"Mini Bottle: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA tall bottle form with a twist.\u003c\/p\u003e\u003cp\u003e16 × 8 cm (6.3 × 3.1 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eBuilt using a spiral technique that creates a twist in the body — not a surface decoration, but a structural decision made during throwing. A very tall, thin cylinder is pulled on the wheel, cut free with a wire, then shaped entirely from the inside using one hand, expanding the form outward from within. The twist is a result of that internal pressure. It cannot be added after the fact.\u003c\/p\u003e\u003cp\u003eThe neck has a slight asymmetry. There was a strong stream of air through the kiln at that point in the firing. The bottle recorded it.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041007400,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3371.jpg?v=1781712434"},{"product_id":"vessel-ubud-forest-ii","title":"Vase: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA small bottle form with iron-dark surface and porcelain slip marks.\u003c\/p\u003e\u003cp\u003e21 × 14 cm (8.3 × 5.5 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eHeavy iron-dark surface with ash streaks. Where the flame was hottest, the clay went dark and vitreous — iron-red fading into black at the shoulders, amber breaking through at the base. The ash settled thickly at the foot ring. The white marks are porcelain slip applied after shaping, before firing. The kiln darkened everything around them.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, clay slip, and porcelain slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041040168,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3379.jpg?v=1781712255"},{"product_id":"slab-ubud-forest","title":"Form: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware, manipulated. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eDecorative.\u003c\/p\u003e\u003cp\u003e34 × 11 cm (13.4 × 4.3 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eThrown as a tall, thin cylinder on the wheel, then cut free with a wire and worked by hand on the table — stretched, opened, coaxed into this form. Not a slab. The shaping happens after the wheel, while the clay is still soft enough to move. White marks on the surface are porcelain slip applied after shaping, before firing. The kiln darkened everything else around them.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041105704,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3395.jpg?v=1781712784"},{"product_id":"dish-ubud-forest","title":"Dish: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware, manipulated. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eUse for small objects, salt, or anything that needs a place to rest.\u003c\/p\u003e\u003cp\u003e3 × 20 cm (1.2 × 7.9 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eThrown on the wheel, then pushed into a triangle shape while the clay was still soft. The rim carries the memory of both — the smoothness of the wheel and the three corners pressed by hand. Ash deposits fade from pale at the center into amber and iron-orange where the flame pooled at the edges. The surface is quieter than many pieces from this firing.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041138472,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3415.jpg?v=1781713018"},{"product_id":"plate-ubud-forest","title":"Plate: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware, manipulated. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA triangle plate.\u003c\/p\u003e\u003cp\u003e5 × 22 cm (2.0 × 8.7 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eThrown on the wheel, then pushed into a triangle shape while the clay was still soft. Another piece — likely a cup — was placed on top during loading, fixed with high-temperature clay wadding and sea shells. The shells burned away completely, leaving their prints pressed into the surface. The brown patch is a fire shadow: where the piece above blocked the fly-ash and direct flame, the plate's natural clay color came through. Everything outside that shadow was reached by the fire.\u003c\/p\u003e\u003cp\u003eRice straws were also laid across the plate before loading. They burned away too, leaving faint scorched marks where they rested.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041433384,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3404.jpg?v=1781712932"},{"product_id":"bowl-ubud-forest","title":"Bowl: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA mini bowl.\u003c\/p\u003e\u003cp\u003e7 × 14 cm (2.8 × 5.5 in)\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041629992,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3453.jpg?v=1781713270"},{"product_id":"bowl-ubud-forest-ii","title":"Bowl: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA mini bowl.\u003c\/p\u003e\u003cp\u003e7 × 13 cm (2.8 × 5.1 in)\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041728296,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3436.jpg?v=1781713407"},{"product_id":"cup-ubud-forest","title":"Cup: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026.\u003c\/p\u003e\u003cp\u003eA wide-rimmed yunomi. Holds a full cup.\u003c\/p\u003e\u003cp\u003e11 × 10 cm · Holds 415 ml (~14 oz)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eBuilt using the same spiral technique as the Bottle: Ubud Forest. A tall, thin cylinder is pulled on the wheel, then shaped entirely from the inside using one hand, expanding the form outward from within. Here, instead of cutting the sides with a wire, straight lines were scored into the clay before the internal shaping. As the walls expanded, those lines became the ridges you see running around the body. The charcoal surface and white ash speckle came from the fire — heavier at the rim where the ash settled, thinner toward the base.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003e— read more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix — known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta — firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts — one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen molecules from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln — GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":51988041761064,"sku":null,"price":0.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_3429.jpg?v=1781712618"},{"product_id":"kintsugi-vase-ubud-forest","title":"Kintsugi Vase: Ubud Forest","description":"\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:0\"\u003eAbout\u003c\/p\u003e\u003cp\u003eWheel-thrown and carved stoneware. Woodfired at GAYA Ceramic Art Center, Bali, February 2026. Broken in transit. Restored by hand with kintsugi, 2026.\u003c\/p\u003e\u003cp\u003eThe largest piece in the Ubud Forest collection.\u003c\/p\u003e\u003cp\u003e34 × 10 cm (13.4 × 3.9 in)\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Making\u003c\/p\u003e\u003cp\u003eTwo side stokes fed the anagama. This vase, the biggest work I brought to the kiln, took the spot right beside one of them. It was the highest-risk position in the chamber: closest to the flame, in the direct path of the coffee wood we fed into the stoke through the night. High risk, high reward. It came through the heat intact, and I was glad of what the fire had left on it.\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Break\u003c\/p\u003e\u003cp\u003eI wanted it home safe. So I didn't put it in checked luggage, the bags that get stowed in the plane's cargo hold, out of reach for the whole flight. I carried it on instead, wrapped with the other pieces I'd made on the trip. Walking away from the check-in desk, the strap of my bag broke. The bag hit the floor. I heard the cracking before I opened it. I already knew. Every other piece survived. This one took the fall for all of them. It didn't crack. It shattered, into more pieces than I could count. I cried, hard. For months I couldn't open the bag.\u003c\/p\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin-bottom:0.25em;margin-top:1.5em\"\u003eThe Repair\u003c\/p\u003e\u003cp\u003eA friend told me how a broken piece of hers had come back through kintsugi, the Japanese art of mending breaks with lacquer and gold. Hers ended up in a museum. That was the sign. A kintsugi kit had already been sitting at home for months, a Secret Santa gift from my boss that I'd never opened. Later, in Tokoname, Japan, I was introduced to kintsugi in a workshop with lacquer artist and kintsugi instructor Hajime Furuta (古田一 \/ 漆), watching him work and trying a little under his guidance. Then I took on the repair myself, in gloves, since the lacquer can be toxic and brings on allergies in some people. Some fragments were missing. It took three sessions, several hours each. It isn't what it was. I love it more now than before.\u003c\/p\u003e\u003cdetails style=\"margin-top:1.5em\"\u003e\u003csummary style=\"list-style:none;cursor:pointer;display:flex;align-items:center;gap:0.4em\"\u003e\u003cp style=\"font-size:0.75rem;letter-spacing:0.12em;text-transform:uppercase;margin:0;display:inline\"\u003eThe Firing\u003c\/p\u003e\n\u003cspan style=\"font-size:0.85em;opacity:0.6\"\u003eread more ▾\u003c\/span\u003e\u003c\/summary\u003e\u003cp\u003eMade during a two-week wood firing workshop at GAYA Ceramic Art Center in Ubud, Bali, led by ceramicist John Dix, known for his Kurinuki carving technique and for teaching a looser, more instinctive approach to the wheel. The firing was led by master ceramicist Hillary Kane.\u003c\/p\u003e\n\u003cp\u003eThe kiln was fed wood continuously for approximately 50 hours, reaching 1270°C. Fuel: coffee tree wood. Loading method: Kibuta, firewood packed tightly into the firebox to restrict oxygen, pushing volatile flames and fly-ash through the chamber. This creates the flashed color and natural ash surface you see on the piece. No glaze was applied. Everything you see is ash, clay body, and clay slip.\u003c\/p\u003e\n\u003cp\u003eThe team worked in shifts around the clock. I did two six-hour shifts, one overnight, one at the closing stage when the temperature was already near its peak.\u003c\/p\u003e\n\u003cp\u003eThe firing ended with reduction cooling: oxygen was deliberately restricted as the kiln cooled, stealing oxygen from the clay and surface. This produces the deep color shifts and the faint metallic quality. This was one of the last firings in this kiln. GAYA is relocating.\u003c\/p\u003e\u003c\/details\u003e","brand":"Kutega","offers":[{"title":"Default Title","offer_id":52055602266408,"sku":null,"price":588.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/files\/IMG_4925.jpg?v=1783257307"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0993\/1993\/9368\/collections\/89ec64b6-387a-44c5-9533-cac6e92f32cb_copy.png?v=1782313431","url":"https:\/\/kutega.com\/collections\/ubud-forest.oembed","provider":"Kutega","version":"1.0","type":"link"}