1 - 31 October 2026: Soda and Fire by Sabine Nemet

Opening night Wednesday 30th September 6-8pm

This autumn we are thrilled to welcome Devon based potter, Sabine Nemet. Having travelled many times to take part in her woodfiring course, I am so excited to see a full collection of her work at klei.

After a recent move, this exhibition features the results of her newly built soda kiln. Sabine's work is all about soda, fire and ash. She wood fires her work beginning to end and has been making pots in this way for many years. Her work is tactile, gently curved and full of strength.

In Sabine's words, "I am a Devon based potter producing small batches of functional ware as well as one off pieces. My work is fired with wood and the pieces are soda glazed. A selection of work from the recent firing is represented in this exhibition."

We asked Sabine a few questions ahead of her exhibition.

How did you end up working with clay and what drew you to it as a material?

From the age of 20 I wanted to be a potter. The fact that you can make things out of a formless mass that can then be used as an actual physical thing is irresistible to me. Working with clay fits perfectly, I am happiest when I am either covered in clay or soot from the wood kiln. The endless possibilities that working with clay keeps me inspired.

What is your favourite part of the making process?

My favourite part is sitting by the kiln at midnight, feeding it with wood, hearing the crackle of the fire, feeling tired but at peace.

What sights affect and influence you on a regular basis?

I look at quite a lot at baskets and I like that they are not quite round or square and a little bit floppy. I am also influenced by the repetitive pattern that comes with the weaving. I'm also inspired by granite walls and it's ruggedness and I'm in love with the colours of Dartmoor.

You have always wood fired your work, has there ever been a moment where you’ve thought about using gas or electric kilns to make pottery?

Never!

You have just built a new kiln for yourself! Tell us about this process and how you have kept or changed the design, size, fireboxes etc. from your previous kiln and the thought process behind why you made these changes?

As I was in no position to experiment with a new kiln design and I knew my previous kiln gave me the pots that I wanted, I have built the kiln to the same design with the addition of an extra insulating wall. It is an Olsen down draft kiln.

The extra insulation means that kiln does not radiate the same amount of heat and is therefore more efficient to fire.

What makes wood firing so special to you?

It's so special and unique through the direct physical involvement in bringing the pots up to temperature. The ritual and the routine of preparing the kiln for the next firing is something that I feel deeply connected to. I love seeing the soda glaze developing in real time on the glowing pots throughout the kiln.

What drew you to including soda into your firings?

I like the unpredictability of it. You never fully know how the pots will turn out.

In a nutshell, for those who are unfamiliar with woodfiring, can you tell us about this process, at what point you spray and in soda, and what exactly is happening when you do so?

I fire the kiln for about 36 hours, stoking the kiln on average every 5 minutes. The burning of the wood brings a live flame throughout the pots in the chamber and introduces a light sprinkling of ash but not enough to form a glaze.  When the pots reach the temperature of about 1250 degrees, I spray a hot water/ bicarbonate of soda solution in the kiln, directly onto the pots. The soda component combines with the silica and the alumina present in the clay body and forms a glaze.

You have run many wood firing courses (many of which I have attended), and regularly taught at Clay College? What are the things you enjoy most about teaching and sharing knowledge.

Teaching gives me the opportunity to really think of what methods I am using to create and ways to explain my processes. I like the opportunity to share my knowledge with others and I enjoy sharing  the love of creating things out of clay. In this, I appreciate everybody who plucks up the courage to try and learn something new and unfamiliar. I take pride in supporting them every step of the way.

Having made pottery in Devon for over 20 years, what stands out to you about how the ceramics scene has evolved recently? Public interest in the craft seems to have exploded over the last few years, are you seeing that same shift in your own work and across the local community?

It seems people are more interested in human made crafts and having a hands on experience, especially after the covid lockdowns. I am able to fill my classes and courses very quickly. I also get invited to run Masterclasses and courses in potteries around the country, which for me is definitely a recent thing, a sign of the of wide the interest in ceramics is spreading. Teaching adds another way of earning a living as a potter. 

Who is a maker whose work you love and admire that we should know about but might not?

I love the work of Petra Steward. I have always been inspired by her ability to maintain the softness of the clay. To me they are inviting and friendly. And I aspire to acheive the same in my own pottery.

What is the most recent ceramic vessel or piece of pottery you bought for yourself, from where and by whom?

I bought a wall sconce from Jessica Turrell holding a candle at the Pots and Food Festival in Wardlow Mires. I hung it on the wall and it makes a beatiful light in the evenings.