Texas potter Gary Hatcher realized his dream of firing “for the cost of labor” with a large, efficient, wood-burning kiln.
Robert Arneson in his California studio.
“Untitled Antelope Jar,” thrown and handbuilt porcelain and stoneware, with gold and lusters, on a raku base, 22 inches in height by Adrian Saxe, recipient of a $15,000 National Endowment for the Arts Visual Artists Fellowship.
Thrown porcelaneous stoneware bowl, approximately 13 inches wide, with saturated-iron and ash glazes, by California potter Neil Moss.
“Self-Portrait #7 (Drip Face),” 15 inches in height, assembled from raku-fired slabs, acrylic-painted clay “sticks,” low-fired slabs with silk-screened underglazes and found objects (a Czech terra-cotta shard “cheek” and a seashell “eye”), by Bill Abright.
Since moving six years ago from his Aylesford studio to a small workspace in London, British potter Colin Pearson has, after 25 years of reduction firing, been making pots adapted for a small electric kiln.
Porcelain bottle, approximately 14 inches in height, with glaze, overglaze and luster decoration, by Japan’s “living national treasure,” Nodo Fujimoto. Not the stereotypical Japanese master, this artist explodes the myth that artists cannot be good at other, seemingly diverse careers while also maintaining a quality studio life.
Flattened, wheel-thrown stoneware bottle, 8.5 inches in height, with slip-filled rope impressions and glaze brushwork, by mingei (folk art) potter Tatsuzo Shimaoka of Japan.
Washington ceramist Anne Hirondelle works in a 10×14 foot studio efficiently equipped with an electric wheel, extruder, worktables, storage shelves and a wood stove. With a career that moved from production stoneware to raku-fired clay drawings to acrylic constructions, she has returned to making vessel-oriented stoneware.
Folk pottery is still being made all over the world. But because its spontaneity is often confused for crudeness, its function challenged by plastic, stainless and enameled ware, it’s slowly dying everywhere – from industrialized countries like Japan to Third World nations like Nigeria. Folk pottery (such as this bean pot, 8 inches in diameter, thrown from local earthenware, charcoal fired unglazed, by W. Hardin, Chalky Mountain, St. Andrew’s Parish, Barbados) is so closely tied to its social context as to be incomplete standing alone in some museum, or even on a magazine cover. This month we look intimately at one context of folk pottery (in Japan) with anthropologist Brian Moeran.