Full-time potter John Glick in his Farmington, Michigan studio. Part I of Glick’s two-part portfolio looks at the continuum of his work, while discussing mid-career issues that concern potters everywhere.
Roddy Reed makes a living from pinch pots! Like the mazes decorating some of these works, Reed’s life took many twists and turns before he reached his goal of being a full-time, professional artist.
Carole Aoki finds getting out of the studio and into the fray of public contact at craft fairs is a risky, yet satisfying experience; read her thoughts about selling at the Philadelphia Craft Show in this month’s portfolio.
Montana potter David Shaner talks candidly about his life, work and long studio career in a autobiography beginning on page 41. “It’s no use becoming involved in pottery if you have not decided to live for pottery,” he comments.
Artist-in-residence Graham Marks in his studio at Cranbrook Academy of Art, Bloomfield Hills, Michigan.
Teapot, 9¾ inches high with cane handle. Lizella clay (indigenous red stoneware), with equal parts nepheline syenite and Gerstley borate glaze, fired to Cone 9 in oxidation. The piece was made by Atlanta potter Rick Berman.
Wayne Higby and a “landscape bowl” nestled in hay (his raku fuel of choice). The wooden, lidded box is a chamber he built specifically for post-firing reduction.
Nancy Selvin surrounded by dozens of slip-cast ceramic eggs in her California studio; her story about the major influences affecting her artistic development begins on page 47.
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.”