Jim Romberg is an artist and instructor who has been creating, exhibiting and writing about raku ceramics for more than 30 years. Jim studied ancient and medieval history, religion, and philosophy before going on to complete his MFA at the Claremont Graduate School, where he worked with Paul Soldner. Since then he has been an instructor at Southern Oregon University, the Sun Valley Center for the Arts and Humanities, the University of Texas, and Anderson Ranch Art Center. He is currently an Artist in Residence at the Eagleheart Center for Art and Inquiry in New Mexico.
Jim’s work has been exhibited in galleries across the US, in Canada, and in Europe, and is included in a large number of permanent collections including the Boise Museum of Art; the Marer Collection of American Ceramics at Scripps College, Claremont, CA; Northern Arizona University in Flagstaff; and the City of Geneva Municipal Collection, Switzerland.
What exactly is raku?
Because The Grand Hand is particularly know for functional ceramics, we thought that a word or two about raku would be appropriate. The technique originated in Japan in the 16th century. It is a “low-fire” process in which fire and smoke work to create dramatic colors and unique patterns on the surface of the clay. Because it is fired at lower temperatures, in several phases, and for shorter periods than in “high fire” techniques, raku ceramics are generally not functional.
What makes work created through this process fascinating is the way in which the sculptural form and the glazes used combine with the spontaneous and sometimes literally explosive effects of fire and smoke to create works that are unique and can never be duplicated. Each piece is the result of a specific moment in time, where human creativity and natural forces come together to create something unpredictable and beautiful.
There are many variations of the raku technique, but it generally the pottery is first bisque fired, then glazed and fired in a raku kiln at temperatures of about 1800°F (about 982°C). It is removed from the kiln while it is still hot and glowing, and placed inside a metal can full of combustible materials. The heat emitted from the clay causes these materials to catch on fire at which time the pottery is sealed inside the can. As the fire consumes the oxygen within the can, it also draws the oxygen out of the pottery and its glaze. This process is called post fire reduction, and it during this stage that the unique look of raku pottery is created. The resulting patterns and colors are unpredictable, as they are formed through the natural process of oxygen removal.
“Stretchings of clay around volume, around experience, around aspiration, contain activities of the heart, mind, soul, and body which are specifically directed toward a sense of time, movement, psychology, and speculation involved in abstract relations intended to provoke contemplation and discovery.”
— Jim Romberg
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