My fascination for expanding the look of kilns, buildings and sculptures has become very important to me. Every time I see architectural structures like the famous pueblo style church outside of Taos, New Mexico or the Makovecz Catholic church in Paks, Hungary I image them as possible kiln designs. The fascination is in how to build them, how to fire them and how to solve the problems to make them work.

Creating speciality kilns with unusual shapes and innovative firing systems will be my main challenge in the next few years. Approaching kiln designing as a sculptural statement or composition may expand the way we all perceive kilns and the possibilities that are within reach to send send kilns into the new century.

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Over the years I have built many different kilns in various parts of the world. University and college kiln yards have been developed using my kiln designs and I have led many workshops, facilitating staff and students wishes for interesting but efficient firing kilns. The kilns at Hohr Grenzhausen in Germany, the traditional home of saltglaze, was an excellent example of team work - from the consultations with staff and the enthusiasm of the student group, to complete an anagama kiln sharing its chimney with the fast fire kiln built alongside.

The last couple of years I have returned almost full circle, building kilns where I learnt the art - Japan. I have built two kilns - a large cross draft anagama and a new oil fired kiln for Rjoyi Matsumiya's Kanayama Pottery in Aomori, Japan.

If you are interested in commissioning a new kiln to be built, or in hosting an Olsen kiln building workshop, please contact me to discuss the possibilities.

Click on the links on left to see the photographs of some of my projects.