Svend Bayer at his studio in Devon, England. “Like all great functional pots,” says Mark Hewitt, “Svend’s planters, pitchers, plates, casseroles and jars…are active, not passive”; for more on Bayer’s work, turn to page 45.
Kansas City sculptor Jim Leedy’s link to ceramics started early: “My mother craved and ate clay…during her pregnancy,” he claims. Since then, “clay has been constant in my creative search. It has taken me to many countries…and has given me to opportunity to leave my work in many places.” An article about his life and work begins on page 57.
Pat Charley in her Oakland studio; an article about her pattern influences and silk-screening techniques begins on page 47.
Studio potter Richard Aerni; developing efficient methods (including the use of local materials and single firing) has played a key role in his success.
Ceramist/critic Sylvia Netzer with her installation “Post-Toxic/Neo-Plastic” at the A.I.R. Gallery in New York City; a review of her work begins on page 50.
Bobby Silverman in his Baton Rouge, Louisiana studio.
Leslie Lee in her Portland, Oregon studio; the portfolio beginning on page 43 takes a personal look at her professional life.
Mississippi artist Ron Dale with his tongue-in-cheek shrine to George Ohr, the “mad potter of Biloxi”; a review of Dale’s “disorienting” work begins on page 65.
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.