Weathered ancient shale deposits along mountain gullies yield rich plastic clay. We dig raw soil, soak and sieve out coarse roots, then wedge the clay on stone benches for hand-building and wood firing.
Sieving raw local clay removes gravel while preserving natural iron oxides, resulting in deep terracotta bodies that bind without commercial additives.
Sheet pulling and frame sizing
Beaten bark and reed sheets
Wild mulberry bark and invasive river reeds are boiled in ash water, beaten to pulp with wooden mallets, and pulled through deckle frames into durable rag paper.
Linen frames and rabbit gesso
Heavy cotton duck and raw linen are stretched across mortised timber frames, then sized with warm hide glue and white chalk gesso for long-lasting archival tooth.
Mulling ochres and burning wattle
Sieved ochre on glass slabs
Mineral rocks and hillside earths are crushed, levigated in water tanks, and ground on glass slabs with linseed oil or gum arabic to yield brilliant natural artist paints.
Kiln-charred willow and wattle
Fallen wattle branches are trimmed to size, sealed inside airtight steel canisters, and slow-charred over open fires into deep velvety drawing charcoal.