In order to better understand how our ceramics practice may fit in and contribute to the wider field, we have been tasked with identifying a journal from the Cardiff Met collection which aligns with our methods of working and which can support us in our future practice. My chosen literature is ‘The Log Book‘, the international wood-fired ceramic publication. Having tried out wood and anagama firing at HDK’s Nääs site outside Gothenburg last spring, I feel that I’ve finally found a method of working which suits my values and the qualities I admire in ceramic art. The close connection of the potter to the final work and our primitive ancestors imbues this method with a kind of magic and lack of control which excites me.
The Log Book (ISSN 1470-1812) began in 2000 and has been published quarterly ever since by a duo based in Ireland – Coll Minogue and Robert Sanderson. Currently, subscription is £25 annually. The most recent publications each include about six or seven 1000-1500 word articles which are all contributed to the magazine by artists , kiln builders and those with an interest in wood firing. Over the 18 years it has been running, the log book has published articles about wood firing from close to every continent in the world.
Article submission guidelines can be found on their website (www.thelogbook.net) and suggest a proposal for your desired article is discussed with the journal before sending a first draft in. First person writing from the artist/potter themselves is preferred and articles are checked for accuracy before publishing in order to avoid inaccurate or misleading information. In their online guidelines they state that in order to write about a new kiln design, the kiln must be fired successfully at least twice before it’s details can be shared publicly.
In the first couple of issues, a correspondence section is included at the back which is mainly comments from potters showing support for the new magazine. In the later issues however, there is no section for letters from readers which is a pity as it could open up the journal to a closer relationship between readers and writers, enriching conversations.
There is very little advertising in the journal. You’ll find nothing like the pages full of pug mills, pottery tools, kiln and workshop adverts like you do in Ceramic Review. Instead, the journal occasionally dedicates a couple of pages to a review of a new book about wood firing or wood stacking and advertises where to buy it from. At the back of each issue is a ‘backlog’ which is a list of up-coming wood-fire related events, fairs, exhibitions and conferences which readers can contribute to. Some articles inconspicuously advertise workshops such as the most recent issue in which is an account of EMA-CNIFOP, a prestigious but unfortunately named ceramic centre in France which offers short courses and claims to welcome 300 professional ceramic artists for short specialist courses each year.
The journal is interested in any articles relating to wood-firing, whether they be about functional or sculptural work, contemporary or historical. Technical details are important, many include diagrams and firing cone temperatures and times, although it was difficult to find glaze recipes. While issues at the beginning seem to take a more practical approach, recent articles are more storytelling and philosophical in their style. An article that particularly interested me was called ‘New Wave’ by Angus McDiarmid and was featured in issue 72 from 2017. In it he discusses the potential future of wood-firing and issues surrounding the environment (such as carbon emission levies) as well as economic viability. He asks ‘Can we move forward from our Japanese influence and all that wabi sabi speak?’ which is something I find myself questioning often. It has become fashionable to make work influenced by traditional Japanese ceramics in the west, but by doing so are we losing touch a little with the folk pottery of our own culture in the UK? McDiarmid also suggests that in a world of digitisation and virtual realities ‘woodfiring offers something very human.’, a comfort and connection to reality.
I hope that reading further into these journals will help me find opportunities for workshops/residencies which I may otherwise have not found. They will also be useful for learning about the journeys different potters take to get to the stage they are at currently, since lots of the articles are autobiographical. I am considering proposing an article describing my own recent experience of wood firing. Overall I’m very impressed with this valuable resource and of how international it is with writers from a multitude of different culture contributing.