Montana potter Michael Jenson decorating functional ware; four years ago, he decided to expand his business by opening his own gallery, viewing it as a chance to “ensure my family’s future as well as allow me to continue working in clay.”
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.”
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.”
The first full-time studio potter in Cape Town, South Africa, Hyme Rabinowitz adheres to the production philosophy: “form is number one; quality of glaze important; simplicity the keynote.”