Sandy Simon in her California studio. Working with a Grolleg-based porcelain, this Midwest-trained potter decorates thrown, altered forms with brightly colored slips and stain-colored frit/clay “rocks.”
“Obsidian,” porcelain teapot, 13 inches in height, handbuilt from paper-thin slabs, fired to Cone 10 in a charcoal-filled saggar, by Phil Cornelius.
Canadian ceramist David Taylor in his Dayspring, Nova Scotia, studio. Initially trained as a painter, he still acknowledges that connection in his clay work, utilizing a palette of slips and glazes to build depth and color on surfaces.
Stoneware mold, 8 inches in diameter, Northern Song dynasty China (A.D. 960-1127). Used in producing celadon-glazed bowls with “carved” interiors, these molds were formed by pushing clay into a master, then firing for stability. The underside of this mold is roughly finished, but others were more refined, and look like thickly thrown bowls.
Handbuilt bowl, 8.5 inches in height, raku-fired earthenware, with glaze and stain decoration, by Peder Rasmussen of Denmark.
“Two Fishes and a Shadow,” handbuilt platter, 11 inches in diameter, with cardboard impressions, slips and sprinkled raw materials, soda-vapor glazed in a heavily reducing atmosphere at Cone 6, by Canadian potter John Chalke.
“Cane Horses,” thrown Cone 10 porcelain, 20 inches in height, with china paint, by Jenny Lind.
Covered jar, 8.5 inches in height, wheel-thrown porcelain, incised, applied clay, apple ash glaze, with fake ash glaze over resist and glaze-trailed dots, by Tom Turner.
On the cover, Arnold Zimmerman’s studio. This Brooklyn ceramist builds forms from thick coils, then deeply carves and shapes them.