Montana artist George McCauley; David Leach decorating pots at his studio in Bovey Tracey, England; prizewinning traditional carved and smoke-fired ceramics by Tammy Garcia.
Japanese potter Koichi Takita in his Karasuyama studio. A proponent of mingei (fold craft) philosophy, Takita believes that folk art need not be static to be authentic, that pottery is an ever-changing craft.
Illinois artist Marlene Miller defining facial features on a large head formed from a solid mass of clay; built without an armature, her figures are hollowed out when leather hard, starting from the top.
Clay artist David MacDonald in his Syracuse, New York, studio. Strongly influenced by Nigerian pottery, MacDonald carves the surfaces of his functional stoneware forms with a wet wooden comb. The resulting imagery is “the strongest, most personal, most universal part of his work,” says Richard Zakin in the review beginning on page 52.
Montana potter Michael Jenson decorating functional ware; four years ago, he decided to expand his business by opening his own gallery, viewing it as a chance to “ensure my family’s future as well as allow me to continue working in clay.”
Isolated from outside influences, the potters of Myanmar (formerly Burma) have maintained an unbroken tradition of thrown and paddled earthenware produced for domestic use.
Russian emigré Simona Alexandrov developed her majolica techniques through hands-on study of historical ware at Saint Petersburg’s Muchina Museum School for the Applied Arts; for more on her work, turn to page 51.
Indiana potter Dick Lehman set out to fulfill his dream of achieving wood-firing effects while working within his gas-kiln limitations; the result is pots “that are process-driven, but that are always just a little out of control.”
Ohio potter Tom Radca firing work for exhibition in Thailand. Exhibiting abroad has “entailed major expenses, difficulties with customs and some sad sights…But there were also unparalleled experiences and wonderful people.”
“Animus,” handbuilt sculpture, by Pennsylvania artist Pamela Earnshaw Kelly, ready for raku firing. Once the glaze reached temperature, the sheet-metal reduction chamber was lowered into the kiln and combustibles were introduced through an opening at the top.