Though considered precious ornaments, California potter Andrea Fábrega’s porcelain miniatures remain rooted in functionality—yes, lids are removable and teapot spouts pour.
Running one of the largest production/studio potteries in the U.S. requires a good sense of how to design, use machines, manage people and keep records. Through an in-depth look at his work and processes, Pennsylvania potter Bill Campbell explains how and why he built such a large-scale operation.
Porcelain potter/sculptor Coille McLaughlin Hooven in her Berkeley studio; see the portfolio beginning on page 33.
Kansas City potter Steven Hill considers his work “not so much a product line developed to fill a particular need, but a functional reflection of my personality, aesthetic sensibility and maybe even a bit of my soul.”
Studies in oceanography and years of painting inform the richly textured and brightly colored ceramic seascapes of California artist Andrea Johnson.
Robert Eckels outside his studio in Bayfield, Wisconsin; turn to page 40 for the story of how working one summer with Eckels had a profound and enduring effect on an apprentice fresh from college.
Working exclusively in black-and-white, California artist Kathy Erteman decorates whiteware with simple glyphs carved (inside and out) through black slip.
Adrian Saxe in his Los Angeles studio; a portfolio covering the 30-year evolution of his work begins on page 37.
To Florida potter Patrick Dragon, the surface of a wheel-thrown vessel is like a plaster wall ready for a fresco. “It’s sensitive to almost anything—I can paint on it, apply glazes, even add ceramic decals, gold leaf, ink and a variety of other collage elements.”
Dale Zheutlin (New Rochelle, New York) prepares a model for a commission at her converted-warehouse studio. Her article about “Site-Specific Wall Sculpture” describes how to produce a large, multisectional wall form as well as sell the concept.