Clay

The clay body I use is a smooth, porcelain-like, high-fire/cone 11, light grey clay that is formulated to produce a range of warm red/orange/yellow/gold tones in salt, soda and wood fired kilns. Larger forms utilize a stoneware clay body that is better suited to endure the stresses of complex construction and the firing process.
Other clay types I occasionally use are a local brick clay and flameware. 
The local brick clay is found along river banks and lake shores throughout Maine. Straight out of the ground, it matures at earthenware temperatures (cone 04-cone 01). With additions of 15-20% ball clay and fireclay (to aid workability) the clay can be fired to cone 10, and produces a dark brown to black fired clay color.
The flameware clay body is one Robbie Lobell published in a 2008 Ceramics Monthly article that I tested in 2017. The video shows the process of boil-testing the clay over a large propane burner. 

Throwing

The vast majority of the forms I produce are thrown on a potters wheel. The technique of standing while throwing is an important part of the work flow in the studio and the health of my body.  The work station in the studio is set up to allow ease of motion and access to tables, tools, bats, clay, etc.  
When creating large jars/forms I use a hydraulic table which lets me raise and lower the wheel so my body position remains as consistent a possible while working.

Firing

My work follows a tradition of atmospheric firing called salt firing.  An offshoot of salt firing is soda firing, where instead of using sodium chloride as the glaze component in the kiln sodium carbonate is substituted.  The processes of salt and soda glazing involve the introduction of sodium chloride (kosher salt/table salt/rock salt) and/or sodium carbonate (commonly known as washing soda or soda ash) into the kiln.  At the time when the salt and/or soda is introduced into the kiln the pieces and the atmosphere inside the kiln are roughly 2200-2300˚F.  The extreme heat inside the kiln rapidly volatilizes the salt or soda ash and creates an vapor atmosphere which glazes all the exposed surfaces of and in the kiln. The kiln I use to fire my work is fueled with propane gas and holds about 150 pieces in each firing.

The resulting surfaces have varied texture and color, depending on placement in the kiln.  Surfaces abutting the firebox(es) (trough-like areas where the burner flame enters and the soda ash and/or salt are typically introduced) will have greater deposits of soda glaze (identifiable by pronounced “orange peel” texture and bleaching of glazes) than pieces centered in the kiln, protected somewhat from the heavier soda glaze deposits.  Because of the variables in the firing process - time, temperature, placement and amount of soda/salt (and at what point it is introduced during the firing) - consistency is not a typical concern; though, much consideration does go into the process of forming, glazing and stacking works for a soda firing - a much more demanding and considered process than most other firings.  Clays and glazes are effected by and respond to the vapor atmosphere inside the kiln, and even the most thorough preparation and calculation cannot prevent the beautifully unexpected or the painfully awful result from occasionally happening. The interplay of the kiln atmosphere with the applied glazes and raw clay surfaces is where the intrigue and passion lies for most who use this firing technique.   One’s intuition is the primary guide to the process - finding the bright side to the “mistakes” and “catastrophes” that periodically occur during firings is just one of the tools of the trade that informs the works that are revealed the next time the kiln is opened.