Technique
Aguirre’s early work was low-fired using a technique called Naked Raku — a beautiful process traditionally suited for pots and sculptural forms with smooth curves and relatively flat surfaces. Because of its limitations, Naked Raku is rarely used on highly detailed figures, which often feature sharp angles and intricate contours. Despite this, Aguirre was drawn to the striking visual qualities of the technique and chose to use it on her sculptures, even though it presented significant challenges. At times, she even compromised aspects of her sculptural designs to accommodate the rigorous demands of the raku firing and reduction process.
Another challenge Aguirre faced with traditional raku was its fragility. Because raku pieces are not fully vitrified, they remain delicate and susceptible to breakage—an especially problematic issue when shipping sculptures from Hawai‘i to mainland galleries, even with the most careful packing methods. These difficulties led Aguirre to seek a solution that would preserve the aesthetic beauty of Naked Raku while overcoming its technical weaknesses.
After a year of trial and error, Aguirre developed a new surface technique she named Naked Fauxku — a playful reference to the clay being "naked" (unglazed) while mimicking the appearance of raku. Unlike traditional raku, Naked Fauxku is executed in an electric kiln and can be fired to any temperature, allowing the work to become fully vitrified and significantly more durable. This innovation not only made the process suitable for intricate sculptures as well as pottery but also greatly improved the structural integrity of her pieces for shipping and exhibition.
Aguirre’s Naked Fauxku technique was later featured in Pottery Making Illustrated magazine and included in the book Naked Raku and Related Bare Clay Techniques, where her process is described in detail for use by other ceramic artists.