Bruno La Verdiere with works in progress and “Lake Shore Guardian,” left, solid stoneware to to 9 inches thick, stained black. His story about the major influences he encountered on the path from a monastery to his own private studio begins on page 22.
Salt-glazed jar, 11.5 inches in height, wheel-thrown and paddled stoneware, partially coated with white slip, by Warren MacKenzie. Since the early 1950s, Mac Kenzie has responded to the “essential need for functional pots at affordable prices.”
Barbara Miner has “made all the mistakes you can think of,” yet she still feels very positive about operating her own craft business.
Brook Le Van at the Omaha Brick Works, where he purchases pallets of freshly extruded pavers for constructing sculpture. “Instead of using a lump of raw clay, assigning a particular meaning to it and then building something, I start with a brick, an object that can metaphorically represent something, like ‘shelter'”.
Building a wood-fired kiln with Doug Casebeer (top) at Appalachian Center for Crafts near Smithville, Tennessee, challenged workshop participants with “total involvement.”
Pennsylvania artist Paula Winokur with “Entry I Sakkara,” a porcelain doorway installed at Helen Drutt Gallery, New Your City.
Beverly Mayeri (Mill Valley, California), a recipient of $15,000 in the latest round of National Endowment for the Arts fellowships.
Siddig El Nigoumi with sgraffito-decorated earthenware platter. Never quite as traditional or simplistic as they appear at first glance, this Sudanese/British potter’s designs can include the sting of social commentary.
Susan Fairhead (in the foreground) completes every step of surface design—like all decorators at England’s Moorcroft Pottery.
From the exhibition “Pitcher, Jug, Ewer” a $1200 stoneware pitcher, wheel thrown with vertical incising and “ribbing,” 17.5 inches high, by Val Cushing, Alfred University ceramics professor.