Bruce Cochrane at his studio in Canada. Through his work, Cochrane seeks to combine individual expression with utilitarian demands.
Santa Cruz, California studio ceramist Sally Gaynor with three teapots that retain a traditional handle and spout, but take a functional detour to travel down a road rife with visual puns and architectural allusions.
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.
Virginia ceramist Donna Polseno with one-of-a-kind and production vessels in her barn studio.
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.