The Footprint of Fire

The story of Kujiragama began long before the first brick was laid. It began in Bizen, Japan, during long days working with clay, nights feeding the fire, and conversations around the kiln.

It was there that Magali Kivatinetz met Taiga Mori, a Bizen ceramic artist who welcomed her as his apprentice. Through shared firings, long hours working together and time spent with Taiga’s family, a friendship developed alongside a deeper understanding of the Japanese tradition of wood firing.

During one of those visits, almost spontaneously, Magali asked Taiga a question: What if we built an anagama at Can Brull, in the mountains of Montseny, near Barcelona?

Taiga said yes.

What began as a simple conversation suddenly became the possibility of something much bigger.

Later, in Denmark, they met Frank Richter, a German ceramic artist with extensive experience in wood-fired kilns. When they shared the idea with him, Frank also wanted to be part of the adventure.

Three people from different backgrounds, connected by a shared passion for ceramics, found themselves at the beginning of a project none of them could fully imagine yet.

The intention was never simply to reproduce a Japanese kiln in Catalonia, but to share the knowledge and spirit of a centuries-old tradition and allow it to find its own life in a new place.

What began with a spontaneous question in Bizen was about to become a collective journey.

Kujiragama was still only a dream, but the people who would bring it to life had already found each other.

On October 1, 2026, Kujiragama was lit for the very first time.

After months of preparation, the kiln was finally ready to begin its true purpose: transforming clay through fire, wood, ash and time.

What followed was an intense and unforgettable experience.

For 84 hours, through days and nights, an international team of ceramic artists and participants worked together, feeding the fire, watching the temperatures rise and learning to understand the behaviour of a kiln that had never been fired before.

Heavy rain, strong winds, mud, exhaustion and temperatures reaching 1300°C tested both the kiln and the people working around it.

There were moments of excitement and joy, but also frustration, difficult decisions, mistakes and unexpected problems.

Kujiragama revealed a character of her own. She demanded attention, patience and respect. The team had to learn to listen to her, to understand how the fire moved through her chamber and how she responded to every decision.

The first firing was not simply about reaching a temperature. It was about learning to work with the fire, accepting uncertainty and understanding that every firing is a collaboration between the people, the materials and the kiln itself.

The pieces presented in this exhibition are the result of that first encounter.

Each carries the marks of flame, ash, atmosphere and time. Some reveal beautiful surprises; others bear witness to the difficulties and unpredictability of wood firing.

Together, they tell the story of a first fire, with all its uncertainties, discoveries and imperfections.

Kujiragama had finally come to life. And she had already become a teacher.

Five days around the fire

1. 30 Sep · Loading

   Shelves, wadding, fire clay, ash and rice straw. Placement decides what the fire will do to each piece.

2. 1 Oct · Lighting

   The kiln is closed and lit. An anagama heats slowly; the first hours are about reading it.

3. 2 Oct · Climbing

   Rhythm of wood and air. Flame movement and atmosphere inside the chamber.

4. 3 Oct · Side stoking

   Maturation temperature, damper and air channels. Reduction, ash deposits, flashing.

5. 4 Oct · Sealing

   The firing ends and the kiln is sealed. Days of cooling before the opening at Aki Matsuri.