The technique of Salt Glazing is believed to have originated in the Rhineland in Germany in the 12th century. Salt (sodium chloride) is introduced into the kiln at the peak temperature of 1280- 1300 degrees centigrade. It decomposes and volatilizes, combining with the alumina oxide and silica in the claybody to form a glazed surface. There is a wide range of colours and textures that can be achieved, depending on the amount of salt ones uses and on whether one fires reduction or oxidation. Salt glazed ware is more often than not, "raw glazed" and "once fired", which means that one can finish making, decorating and glazing the ware in one continuous cycle. The firings are, as a result, longer than usual glaze firings. My firings are even longer, because I use a black ball clay which bloats if fired fast. On good days I fire 24-25 hours. On bad days, longer! Once the kiln reaches 1280 degrees, salt is introduced into the fireboxes. As the salt is thrown in, it pops and crackles and the flame at the chimney gets more furious. The temperature drops, as the kiln goes through a reduction and then rises again as the flame burns clean. Draw rings are placed at the peepholes and pulled out every few saltings, to ascertain how thick the glaze is and if/how much more salt I want. Salt glazing allows me an immediacy of touch. It also enables me to enhance the earthiness of the work, rather than overwhelm it, as glaze often does. My current work is all handbuilt. A rather slow, almost meditative process, that demands that one spend a long time working on a single piece. To me that imbues each piece with a sense of ritual. I work in series, repeating a form and technique, until it evolves and requires a natural moving on.