Wood-fired ceramics allow the potter to join with nature, in four or five days and nights of oak and pine firings, to produce a range of works beyond what could be completely planned.  I’m especially fond of making tea bowls, which both the potter and whomever holds them can “see with their hands.”  This bowl was pulled from the kiln at its highest temperature, and quickly  doused in a pail of water— a huge strain on the clay— and it survived.

At the Kiln – 2012
 Other teabowls show different techniques. For example, a porcelain teabowl with the character “moon” (brushed with an iron oxide) needs only a simple clear glaze to serve as a contrasting background to the calligraphy.
 SA moon porcelain teabowl

Between firing methods, glazes, and variations of shape,  there is a possible range in ceramics that offers potters an unlimited scope for their work.