Isolated from outside influences, the potters of Myanmar (formerly Burma) have maintained an unbroken tradition of thrown and paddled earthenware produced for domestic use.
Russian emigré Simona Alexandrov developed her majolica techniques through hands-on study of historical ware at Saint Petersburg’s Muchina Museum School for the Applied Arts; for more on her work, turn to page 51.
Indiana potter Dick Lehman set out to fulfill his dream of achieving wood-firing effects while working within his gas-kiln limitations; the result is pots “that are process-driven, but that are always just a little out of control.”
California artist Robert Kvenild assembling an oversized ceramic bouquet in his Santa Cruz studio.
Ohio potter Tom Radca firing work for exhibition in Thailand. Exhibiting abroad has “entailed major expenses, difficulties with customs and some sad sights…But there were also unparalleled experiences and wonderful people.”
“Animus,” handbuilt sculpture, by Pennsylvania artist Pamela Earnshaw Kelly, ready for raku firing. Once the glaze reached temperature, the sheet-metal reduction chamber was lowered into the kiln and combustibles were introduced through an opening at the top.
Mark Nafziger pulling a straw through slip trailed on a wheel-thrown pot. As the resident potter at a living history museum in northwest Ohio, Nafziger “can’t just loaf about when visitors are present. They expect to see a potter at work. It is show time, as well as production time.”
Colorado ceramists Ro Mead and Candy Resnick; for the past eight years, they have produced integrated architectural tilework that “flows” around corners, over benches and onto floors instead of staying on the wall where it “belongs.”
Arizona potter Peter Chartrand glazing a series of goblets. His collaborations with Toni Sodersten “reflect the ideas and experiences of both artists.”