The term Raku which means : happiness in the hazard, is loosely used to define a style of pottery or a type of firing method derived from an ancient Oriental process. Invented in the 16th century in Japan for the tea ceremony (cha-no-yu).

Pieces are placed in the kiln and heated to their highest temperature at this moment, the kiln is opened and, using tongs, the pots are removed still incandescent.

Post firing treatments includes reduction of oxydes and blackening placing the pieces in a container along with combustible materials (leaves, paper, straw, etc.) to "reduce". This causes the unglazed clay body, and any cracks which have developed in the glaze due to rapid cooling, to turn grey to black. Submersing the still hot pieces in water is often used to "set" the colors.

Pots produced using the raku method possess a claybody that is porous and fragile. Therefore, Raku pots are generally considered nonfunctional, decorative pieces.

A day of Raku firing will usually involve several kilns loaded of pots. The kiln is a small, portable unit which holds six to eight pieces. The brevity of the firing cycle means that there may be several events taking place at once. While pots are being brought up to temperature in the kiln, the next load sits atop the kiln to insure dryness. Other pieces, just out of the kiln, are in the combustion containers reducing.

During the reduction stage a residue is deposited on the surface. Each pot requires a through cleaning with scrub pads to remove the film and expose the intricate crackle patterns highlighted by the carbon deposits.

Successful work comes from a combination of technical comfort and esthetic sophistication where neither is sacrified in favor of the other.

Each piece is unique, because the cracks will never occur at the same place and idem for the irisations.

To acquire a piece of Raku, there is a dead cert to be the only one in the world to possess this art work.

Raku, beyond this technic there is a way to be, to live and agree the controled and the uncontrolable.

Making Raku is like being a funambulist and at the same time, an alchemist.

There’s always a risky part, and happiness rests in the hazard (D.P.L).