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.”
Barbara Miner has “made all the mistakes you can think of,” yet she still feels very positive about operating her own craft business.