Local Color: A Potter Uses Local Vegetation in Ash Glaze Recipes

Sandy getting started on the sgraffito for an octopus pot. The black slip-glaze turns shiny in the firing and the exposed clay turns a warm varied brown, as it is fired in reduction

The late Sandy Vitarelli spent most of her life on tropical islands in the pacific and her pottery reflects that. Drawing on the centuries-old Palauan craft of hand carved “storyboards” that depicted legends of Micronesian life, her larger-than-life pots feature images of Hawai‘ian plants, sea creatures, and people.

The imagery was not the only way in which her pots reflected her surroundings. Sandy also used local clay and gathered local vegetation such as dried banana leaves, hibiscus hedge trimmings, kiawe, eucalyptus, guava (to name a few) to create her ash glazes. In today’s post, I am sharing her ash glaze recipes. Even if you are not lucky enough to live on a tropical island, you could try experimenting with the vegetation in your area. –Jennifer Poellot Harnetty, editor.

More color, please!
Linda Bloomfield’s Colour in Glazes provides a  complete guide to getting a fantastic spectrum of colorful glazes!

Ash Glazes 

Sandy throwing a section for another of her big pots, like the one behind her positioned next to her car kiln. They were all thrown in separate large sections on the wheel then attached together before being painted with slip and carved using the sgraffito technique.

In order to make a variety of ash glazes, Sandy collected dried banana leaves, hibiscus hedge trimmings, kiawe, eucalyptus, guava, breadfruit leaves, bamboo, cane grass, wattle wood, and bagassse from sugar cane refineries on Maui (a waste product from crushing of sugar cane to extract sugar)

Sandy burned the dried leaves and wood on metal roofing panels and used additional metal roofing as a windblock to prevent the resultant ash from being blown away. She then collected the ash, rinsed it in 5-gallon plastic buckets with water to remove the lye (soluble in water and irritating to the skin, so best to remove it from the ash by this rinsing technique), passed it through an 80-mesh sieve, and dried the ash in the sun on bed sheets so that it could be stored for glaze material. Her glaze notebooks are full of recipes using these various ashes. Her large car kiln would fire to cone 8 at the bottom and cone 10 at the top, so she formulated her glazes for cone 8–10.

Sandy used an iron-rich red earth to make one of her favorite slips for her signature sgraffito designs and for two ash glazes. She collected and processed this red earth from a 12-inch exposed vein in the cliff behind Ho`okipa Beach on the north shore of East Maui. This is the beach closest to Sandy’s house and was also her favorite swimming spot (although the currents and surf are famously treacherous).

Sandy dug a clay-like earth from a roadcut near Kahakuloa on West Maui, which she initially experimented with as a clay. The earth was not plastic enough to use as clay, but when mixed 50/50 with the mainland clay body that she mixed in her dough mixer, she was able to throw on the potter’s wheel without it subsequently cracking. It fired almost black. After a couple of years, Sandy abandoned its use as a clay additive, but formulated two ash glazes from this clay.

Comments
  • Carol T.

    Now this artist I am impressed with. Amazing and very creative.

  • Manet O.

    Thank you for the information and photos of your impressive pots and glazes. I am interested in learning about ash glazes from plants found in the southwest US like sages, that are successful at cone 6.

  • Marko M.

    Her work is amazing. I know that Hawaii must have felt a sad day when she pass away. Just from this picture alone I can see the conviction in her love of pottery. I hope you will do another article on her life. Ashes to glaze and may she rest in peace. But I think she’ll be in throwing heaven now.

  • I visited Sandy a few times when I was in Maui. She was a fantastic artist. And, she was so generous with sharing both her throwing techniques and glaze receipts. I’m so happy to have a few of her wonderful pieces. I didn’t know she passed away, but for those who didn’t get to visit her studio, rest assured that her life there was wonderful, peaceful and happy.

  • Wow what dedication and love to her craft!!!!! I made my first local ash glaze 2 weeks ago using Australian red gum -I only made 2 cups & it is tedious work. Her work is sublime

  • Lindsay P.

    Im impressed just to see someone with that much clay on a wheel! Very inspiring.

  • Subscriber T.

    some one knows is there is a way to use leaves with cone 05 glazes?

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