Here I am opening the kiln after the Fall 2025 firing. My Father took this photo. He has always been a hobby photographer and used a Hasselblad camera and shot B&W so this is appropriate. Even though he used his iPhone.

‘Kahoona’ Kiln

My Woodfired kiln has a large firebox, catenary arch, a side stoking port, 14 ft chimney and enough space for approximately 16 shelves or 200+ pieces.

I fire the kiln for 40 hours straight using off cuts from the local sawmill and locally sourced firewood. We achieve top temperatures of 1300 Celsius / 2350 Fahrenheit and induce a reduction cooling. I wait 3-4 days before opening the kiln.

Built in loving memory of my brother, Tony aka Kahoona.

With each firing, shelves are constructed and pottery is stacked based on height and desired position. These decisions shap the path of the flame as it moves through the kiln, ultimately determining how each piece will be marked by flame and ash.

This is the small fire I start under the main firebox. This small fire is started in the air intake to slowly raise the temperature of the kiln and start depositing ash on my work.

The woodfired pottery process cultivates a dynamic atmosphere within the kiln, where ash naturally settles to form deposits and glazes that cannot be replicated by other means.

Woodfired pottery is among the most demanding and least practical methods of finishing pottery. Hugh relies solely on wood, stoking the kiln every 10–20 minutes to carefully build heat to 2400°F / 1300°C over the course of 40 hours.

Woodfiring pottery requires immense effort, focus, and carries a higher risk of failure, the rewards are magical and provide a lifelong pursuit of discovery and learning.

Hugh built his kiln by himself and fires it twice a year in Spring and Fall. Throughout the year he makes pieces and collects firewood for each firing.

Hugh’s work includes both glazed and unglazed, yet every piece is uniquely transformed by the fire itself—its movement leaving natural deposits and patterns that cannot be easily controlled or repeated.

Looking into the kiln at high temperature is always mesmerizing but you can't look too long as you will let in cool air and your face will start to hurt from the intense heat. A quick snap with the camera before it melts in your hands.

Here I am stoking the kiln from the side stoke. This is a small opening 2/3s of the way into the chamber where I have left 16 inches wide space for the firewood to fall. This increases the temperature and ash effects in the back of the kiln.

Hugh Prysten began his pottery journey over 20 years ago in Japan, where he first fell in love with the quiet discipline and natural beauty of handmade ceramics.

Here are some nice heat protective gloves that I use when stoking the kiln. Unfortunately, these aren't very resilient and I have to use longer kevlar gloves when things really heat up.

These welding goggles aren't just fun, they protect your eyes from the intense bright light from inside the kiln at top temperatures.

Here I am unpacking the kiln. These are temporary door bricks that I stack beside the kiln. I separate regular straight bricks from ones that have been altered to help fit the curved shape of the opening.

Here I am opening the kiln after the Fall 2025 firing. I fire the kiln twice a year and the fall firing is always perfect because of the weather and the last few years my Father has visited from Australia.

Here I am, standing in front of the kiln. Wearing my favorite coveralls, covered is clay. I love pottery but also the work around it that make wood firing possible.

I have setup my work on the bed of my Japanese Kei Truck (Nissan Vanette 1995). It makes a great display which I have used at Oh-Boy! Market (local maker market) in Andy, New York.

I enjoy setting up all my work at my kiln for visitors and buyers to see. It helps connect a simple handmade mug with the full process of making and firing.

Here is my wood fired kiln where you can see the back half of the kiln where the chimney starts and comes thru through roof. The chimney is 14ft high from the kiln floor which helps is have strong draft.