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Originally, Van Zelst explains, long, coarse hair blew against a piece of pottery a Native American potter wes >, removing from a hot kibuTbe^ hair stuck to the piece, and the modem design result so interested the artist that she began to duplicate it with hair from a horse’s taiL
The pieces are made from fine-grained white clay that Van Zelst hand-throws on a potters’ wheeL u ,r
When dry, they are coated with a very fine clay slip called terra sigiUata, then polished by hand to a soft shine.
Then they are fired in art ’**•'» electric kiln. In a second firing the pieces are re-heated, then the pots are removed from the kiln and horsehair is applied to the hot surface.
The horsehair leaves a car- | bon image and smoke shad- p ows that trail up the pot, mak-^l ing each pot unique. J§
Different resuns are achieved by using hair from # horse s mane, or dog hair: the
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