As I would arrive every morning at the ceramic studio, I would be met with the aroma of coffee brewing mixed with the earthiness of humid clay and a quietness broken with only low conversation, and the sound of several people at work wedging their clay. They would be lined up at the wedging tables cutting, folding and kneading their wads of clay, an orchestra of fwing, slap, sewish, sewish, sewish, sewish, sewish, sewish, slap, sewish, sewish, sewish, sewish, sewish, sewish, slap and on and on. Eventually, with the daily preparations completed, the wedging song dissipated into louder conversation, laughter, radios and the business of throwing pottery.
This preparation is not just a traditional custom of the ceramic trade, its part of the science. To obtain expected and consistent results there is a process to be followed. (Applied science). “Wedging” is part of the process. The science behind wedging is simply to blend the clays that are combined in the lump by working and kneading the lump in a manner that aligns the clay molecules in the same direction thereby enhancing its properties. Clay molecules are coin shaped, and in an unprepared piece of clay the molecules are every which way. Un-wedged clay us difficult to work with, as it is inconsistent in texture, plasticity, moisture and most likely contains pockets of air. It is crumbly, less workable, shaping and refinement is greatly compromised and a vessel made with it is unlikely to survive drying or firing without cracking or exploding. Essentially, an unworked piece of clay is worthless to a potter.
The clay the potter prepared today is for future use. A wedged piece of clay is usually wrapped in cloth or plastic and set aside for a few days before use, a period called “resting” or “aging”. The finest clays are aged even longer; weeks or even years, assuring that each molecule is surrounded with water, thereby lubricating and making a more plastic or pliable clay, (a potter usually has a special cache of this set aside). This pliability is a desired quality as it makes for finer and stronger vessels. So, ideally, the potter uses clay that he has previously prepared so his wheel work is not only more enjoyable but also of the best quality which can withstand the firing processes and years of reliable service. It takes more that one firing in the kilns for a finished vessel, the first is to achieve what is called Quartz Inversion, wherein the vessel is changed from delicate air dried clay to a form of “stone”. The second firing is for ornamentation and waterproofing with glazes and even further hardening. Every work day is preceded with preparation, so there is a reliable supply of usable clay, and to assure that his day’s work survives.
Throughout the years since I last stepped out of that ceramic studio, I have often thought of how my God has prepared (wedged) me, aged me, formed me, tested me in the fire and used me. I also know that there are works inside me that he is still preparing me for, some that are being prepared, some are “resting”, some that are now on the potter’s wheel and some have been through the fires and are in use. I’m just very happy and amazed that I’ve been prepared by the Master Potter for His use.
