In 2023, I began taking my previous wood-fired kiln apart brick by brick. I had built it in 2001 as a temporary ‘starter’, and while it had been an efficient and productive kiln, I was feeling its limitations and wanted to try something new. Taking that kiln apart had me quite torn at first, but to my surprise, the disassembly process gave me renewed confidence: I had tied my courses together, laid a very strong arch, and even reinforced the chimney. (As time allows, I will digitize some of the photos and add information about that kiln.)

And so began this current project, the construction of the new kiln, larger and more dynamic in layout. I wanted it to be beautiful and well thought out, so prioritizing quality of work over time was important, and the work had to take place while keeping up with current commitments and production.

First I laid out the kiln shelves to decide on the kiln chamber size, and then did some drawings before making one (and several subsequent) 1/12 scale models out of clay. As construction continued, I made better drawings and revised models.

Then the existing slab had to be extended to accommodate a longer footprint. The firebox extends from the front such that the main kiln pad from the previous kiln is repurposed as the stepped-up base for the kiln chamber.

In May of 2024, new apprentice, Tori Nicoletti, arrived and has been a help every step of the way. Together we have laid every brick, thought through design challenges, and proceeded with careful consideration. We have gone through dozens of pairs of every kind of work glove known to man.

Throughout the process, my husband, Mark Saxe, has contributed invaluable expertise gained from his decades-long career as a stone mason, and I have been referring at critical junctures to several books from his library as well as to The Kiln Book by Fred Olsen. Borrowing Mark’s tools - trowels and mason’s blocks, etc., and his equipment - brick saw, grinders, metal cutting saws, etc., consulting with him at critical junctures, smoothed the way. For me, thinking through each step has been just as important as the actual bricklaying.

My teacher in Japan, Yutaka Ohashi, gave me crucial advice and sent images of his recently reconfigured kiln, with which my design shares a basic profile (firebox, kiln chamber, collection box, chimney), and he has continued to encourage me, as is his way.

The bricks themselves came mostly from my old kiln, and I also bought 1600 secondhand bricks from Djann Hoffmann in Medanales, NM. New arch bricks, as well as refractory mortar and castable refractory, were sourced via Southwest Stoneworks from a regional refractory supplier. Other supplies were bought locally from hardware stores and from Taos Ceramics Center.

I include these process photos to explain the basic structure of the kiln and to offer support to potters serious about building a kiln, especially women. If you have questions, get in touch with me via the connect page.

“Level, plumb, and stagger the joints.”

The bricklaying is done! Remaining tasks include ‘snotting’ the chimney bricks (applying a thin mortar coat with a sponge to seal any gaps between bricks), insulating the top of the arches, fabricating the steel framework, and building the cricket for the chimney (to prevent water seeping through the chimney surround).