NESTLED ON THE BANK of the Econalacahatchee River, just east of Orlando Florida, amid the pine trees and the mosquitoes, labor a group of artists with a vision. Comprised mostly of students and led by their professor, the group has sculpted, shovelled and sweated its way to perfect a tedious, challenging and unpredictable form of ceramic art.
Since the mid-1960s, anagama firing has undergone a rebirth. Professor Hadi Ali Abbas, of the University of Central Florida, attributes this resurgence to the joy of the craft. "The experience of a modern kiln cannot compete with the excitement of a woodfired kiln. It matches neither the thrill nor the mystique of the woodfiring process and its unpredictability."
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