Wood Firing Experiences
Middle Pocket Pottery Wood Firings
At the heart of Venessa Skye’s practice is a commitment to sharing the ancient and elemental process of wood firing with others. Held at her property in Middle Pocket, these group firings offer a rare opportunity to participate in a traditional Anagama firing from start to finish. Over the course of several days, participants are guided through each step of the process, from preparing wood and glazing pots to packing the kiln and tending the fire during the 100+ hour burn.
Venessa fosters a warm, inclusive atmosphere where both newcomers and seasoned potters can connect, learn, and contribute to this demanding yet rewarding method of woodfiring.
The experience is as much about community as it is about clay, sharing meals, shifts by the fire, and stories as the flames work their way through the kiln.
The results are unique, Venessa alters firings to test new techniques, and that’s part of the magic. No two pieces come out the same. Each bears the marks of fire and ash, forming a unique collaboration between the potter, kiln, and process. These firings are not just educational, they’re transformative, grounding participants in the rhythm of the land and the quiet wisdom of ancient craft.
What you’ll learn…
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Preparing for a woodfiring involves meticulous planning, including chopping and cleaning wood (if required), bisque firing works, glazing, making wadding, and organising pieces for loading. The kiln is then carefully stacked, ensuring each participant gets their work into the various areas of the kiln and that the work is balanced to allow optimal airflow and flame movement, with wadding placed beneath every piece to prevent them sticking to the kiln shelves.
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Firing the Anagama kiln is an intense and collaborative process, lasting 80–84 hours non-stop, with participants working in shifts to maintain and control the fire. Each shift involves carefully monitoring temperature fluctuations, strategically stoking the kiln with wood, and ensuring an even distribution of heat and flame throughout the chamber.
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Unloading the kiln is a highly anticipated moment, taking place once the temperature has cooled to below 50°C, usually seven days after firing. Carefully removing each piece, participants witness the unique effects of the flame and ash, revealing the rich textures and surfaces created by the firing process. This stage is both reflective and rewarding, as the results of the intense labour and collaboration are finally unveiled.
Join us for an immersive 11-day woodfiring experience
This opportunity includes hands-on involvement in all aspects of firing the Anagama at Middle Pocket Pottery.
Program Outline:
Days 1–2:
Make kiln wash, glaze, wadding, and cone packs
Timber identification, wood collection, splitting, stacking, and storage
Discussions on clay bodies, forms, glazing, wadding, pot preparation and placement in the kiln
Flexible attendance based on your availability
Days 3–5:
Bisqueware arrival
Glazing guidance, wadding application, kiln preparation
Kiln packing
Individual packing times with support from an experienced firer
Days 6–9:
100-hour firing, including at least 3 firing shifts per participant
Roster created in consultation with each participant’s availability
Days 10–11:
Kiln unpacking
Group debrief and discussion of firing results
Final kiln assessment, analysis, and reset
Cost: $875
Includes a designated kiln space at standard brick height (shelf size: 430 x 600mm) plus 1 larger piece up to 350mm (H) x 200mm (W).
Extra pieces may be brought in case additional space becomes available.
Additional Info:
Please wear natural fibres during the firing.
Bring water, snacks, sunglasses/eye protection, and welding gloves (if available).
Tea and coffee provided. Bring your favorite mug!
On-site camping available by arrangement.
Choose your dates
We have two firings lined up for 2025, don’t miss the chance to be part of the magic.
Choose your preferred firing and secure your place by clicking the buttons below.
Meet the Team
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Jo Norton
Jo Norton works across a range of scales, from finely crafted porcelain vessels to large stoneware forms and site-specific installations, Jo’s practice is grounded in a deep understanding of form, proportion, and space. Her work is recognised for the way surface and texture are integral to each piece.
Wood firing is central to her creative process. After assisting in the build of the Anagama kiln at Middle Pocket , Jo has continued to explore the dynamic potential of flame, ash, and time to transform the surfaces of her work.
Jo draws from traditional hand-building techniques while adapting them to a contemporary context, believing that tradition is not fixed in the past, but alive, evolving, and open to transformation in the present.
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Andrew Zanette
Andrew Zanette has been experimenting in ceramics for close to 15 years.
Andrew first wood-fired at La Meridiana in Tuscany, Italy under the tutelage of Tony Clennell (Canada). Andrew has studied with and is influenced by artists such as Simon Levin (USA) and John Dix (USA/Japan). Andrew has an eye for detail and makes highly considered work with an intent on creating luxury objects.
Andrew has been firing with the Venessa since 2020
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Sara Gonzalez
Sara Gonzalez lives and works with respect on Jinibara Country, in Queensland. She is a ceramic artist and a member of the woodfiring team at Middle Pocket Pottery, led by Venessa Skye.
Working primarily with stoneware, Sara creates vessels that balance refined, minimalist forms with raw, tactile surfaces. Her practice is grounded in an intuitive connection to material, and a fascination with the interplay between control and unpredictability in the firing process.
Rooted in tradition but responsive to contemporary contexts, her work explores how elemental forces leave their trace — inviting contemplation through surface, form, and the quiet presence of handmade objects.
She has deepened her knowledge of flame, ash, and kiln dynamics through collective firings and mentorship at Middle Pocket.
Woodfiring FAQs
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Wood firing is a traditional ceramic firing method that uses wood as the sole fuel source. The process can take several days and results in unique, natural surface effects created by the interaction of flame, ash, and heat.
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The entire process, from preparation to unloading, spans several weeks. The firing itself typically lasts between 80–84 hours, followed by a week-long cooling period before the kiln is unloaded.
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Various types of wood-fired kilns exist, including Anagama, Noborigama, and Bourry Box kilns. The Anagama kiln, a single-chamber design with a continuous stoking process, is particularly known for its rich surface effects.
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Unlike electric or gas kilns, wood-fired kilns require constant monitoring and stoking to maintain the necessary temperature and atmosphere. The extended duration allows for the accumulation of ash and flame effects that give wood-fired ceramics their distinctive character.
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The type of wood varies depending on location and availability, but common choices include pine, hardwoods, and fruitwoods. Different woods produce varying ash deposits and flame patterns, influencing the final surface of the ceramics.
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Wadding is a mixture of refractory materials placed beneath each ceramic piece to prevent it from fusing to kiln shelves or other works during firing. It helps maintain spacing and ensures airflow throughout the kiln.
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Preparation includes bisque firing pieces, chopping and organising wood, making wadding, and carefully planning the kiln load to optimise air and flame flow. This stage is crucial for a successful firing.
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Since wood firings run continuously for several days, participants take shifts to monitor and stoke the kiln. Shifts typically last several hours and involve loading wood, checking temperature, and adjusting stoking rhythms as needed.
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The combination of prolonged exposure to flame, ash accumulation, and varying oxygen levels creates unpredictable textures, glaze-like effects, and natural colour variations, making each piece one of a kind.
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Once the firing is finished, the kiln is left to cool slowly over approximately seven days. Only after the temperature drops below 50°C can the kiln be safely unloaded, revealing the final results of the firing.
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Unlike gas or electric kilns, which provide controlled and uniform heat, wood firing introduces natural variations in temperature and atmosphere. The direct interaction between fire and clay produces organic, unrepeatable surfaces.
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Wood firing can be environmentally conscious when using sustainably sourced wood, deadfall, or reclaimed materials. Many wood-firing communities prioritise ethical sourcing and efficient firing practices to minimise waste.
