018 
"Since 1990, I have been participating in large woodfired anagama kilns, first at Nils Lou's East Creek anagama, later at the University of Oregon anagama, and lately at Tom Kearcher's Jewel Creek anagama on the Oregon coast. It has been a great challenge to bring my understanding of materials and the melt into congruence with the demands of the anagama firing. 018 and 044 show pieces glazed with my shino, which is somewhat calcium-bleached where the fly-ash builds up. Again in 028, the middle bowl shows this softening of color from the flyash in comparison with the others which were fired in my doorless fiber kiln. The serving tray in 076 had a teabowl stacked on it, leaving evidence of the flame's path around it, and dry areas behind. 077 shows the play of the long anagama flame and its fly-ash on naked clay."

044

028

076

077	"It is a further pleasure to make pots for the woodfire which start as materials collected in the wild and later processed in my studio.

Glazed only from fly-ash, 096 was made entirely from a hydrothermally-altered Rhyolite dug on Calf Ridge near Steamboat, Oregon.

096

098	The glaze on 098 is a highly weathered Andesite, dug on the Middle Fork of the Santiam River, near Sweethome, Oregon, with about 6% added unwashed Madrone ash, and the piece was pulled from the stokehole @ C/12 and air-cooled.

This ware is referred to in Japan as Hikidashi-guro, or 'pulled-black.' The result is truly jet black with lovely iridescence from the solubles in the unwashed wood ash. Impatient with the scarce opportunities to pull these from the anagama, I am designing and building a special small kiln to be able to fire and pull around 12-16 of these pieces at a time, a Setogama! 

063	"I dig an unaltered Rhyolite near Williams Lake, British Columbia, which, with 5% additions of Dolomite and Wollastonite, yields a lovely soft celadon, as in 063.
097	"The tenmoku yunomi in 097 was dotted with Madrone ash to produce the yellow patches."