The Art of Obvara: Embracing Fire and Fermentation in Ceramics

Another leaf  in the book of alternative firing methods is Obvara Firing. Obvara (pronounced ob-VAH-rah) is a centuries-old ceramic firing technique originating from the Baltic regions, particularly Latvia and Estonia.  This method is believed to have originated in Eastern Europe. And like many a happy accidents, this firing method also happened by chance. It is believed that one day, a potter pulled a clay vessel from an open wood-fired kiln—still glowing hot—when it slipped from their grasp. In a rush to save it, they plunged it into a nearby bucket of fermenting mash, left from brewing beer or making bread.

The pot hissed and sizzled and the floury brew coated the clay. To the potter’s surprise, the pot didn’t break after the sudden shock. Instead the surface was now marked with dark, smoky, almost magical patterns. This is how a new tradition is born. 

This technique is not written down—it’s passed from hands to hands, from mother to daughter, or master to apprentice. Each village might have its own version of the obvara mixture. Some add beer, others sour milk. Some dip quickly; others swirl the pot for texture. Because of this oral tradition, the origin story isn’t singular, but rather a blend of necessity, intuition, and centuries of local knowledge.

The Obvara Firing Process

The piece is first shaped and bisque fired (typically to cone 06–04, ~ 998°C). Since Obvara is done on unglazed pottery — it's more about surface texture than glassy finishes. If the ware has textures and patterns, the patterns fill the grooves and highlights the deep patters making them alluring. If the pot is designed with a smooth surface, the piece is coated with a thin layer of terra sigillata and burnished to have a smooth and shiny surface. The smooth, semi-glossy surface from terra sig allows the scorched patterns of Obvara to stand out more dramatically.

The bisque piece is reheated in a Raku kiln to around 800–900°C.

Once hot, it's removed from the kiln with tongs and immediately dunked into the Obvara solution.

The intense heat causes the flour-based mixture to scorch and bubble on contact, forming beautiful burnt, smoky, spiralled, and woodgrain-like patterns.

After dipping, the piece is usually quenched in water to stop the reaction. The depth of the colour depends on the exposure of the pot once its dunked in the Obvara mixture and exposed to air. The longer the exposer, the deeper and darker the patterns. 

Once dry and cool, the piece can be sealed with a clear  wax to protect the finish and enhance contrast.

Obvara pottery is not food-safe and should not be used to hold liquids unless sealed with a waterproof interior and even then, decorative use is safest.

This process is best for decorative ware, sculpture, or vessels for dry contents.

The technique requires proper ventilation and safety precautions due to smoke and hot surfaces.