playing with fire and water: fruit tart

fruit tart

Once, my friend Judy gave me a rudimentary lesson on throwing pottery. I can still remember how the clay felt between my fingers as it turned on the wheel. Supple. Lithe. Obsequious. A gentle pull would make the clay rise like a tower; a push would flatten it into a slab. Up... down... out... in... I delighted in the responsive dance of force and symmetry.

I went into the pottery studio that day with a project in mind: a shallow bowl with thin walls that tapered gently outward. Tried as I did, my inexperienced hands couldn't make the clay dance that way. Later, it was decided that the best way to build the bowl was from a molded slab. The process involved rolling, cutting and molding. THESE were motions that my hands understood; it was the dance of pastry.

There are two types of molds used for clay slabs: slump and hump. In slump molding, the clay is laid inside the mold, much like pastry dough is fitted inside a pie or tart pan. In hump molding, the clay is draped over the outside of the mold. This was how I formed my bowl because: 1) it was the only type of mold available at the studio, and 2) it allowed the inside of the bowl to remain smooth and free of blemishes while modeling the slab to the mold. The process made me question why we build pastry crusts inside the confinement of pans and overlook the outside.

Wet clay is made up of fine mineral particles that float in thin layers of water. When clay is rolled, the particles line up in the direction of the force. If a clay slab is rolled in only one direction, the particles line up to form a grain that will cause the object to shrink against the grain when dried and fired.

I've often wondered why recipes for pie crusts insist that the dough should be rolled from the center out, and why they sometimes shrink unevenly when baked. I've wondered, too, about the turns in laminated doughs. I never expected to find the answers in working with clay, but I'm glad I did.