Mark Nafziger pulling a straw through slip trailed on a wheel-thrown pot. As the resident potter at a living history museum in northwest Ohio, Nafziger “can’t just loaf about when visitors are present. They expect to see a potter at work. It is show time, as well as production time.”
Colorado ceramists Ro Mead and Candy Resnick; for the past eight years, they have produced integrated architectural tilework that “flows” around corners, over benches and onto floors instead of staying on the wall where it “belongs.”
Arizona potter Peter Chartrand glazing a series of goblets. His collaborations with Toni Sodersten “reflect the ideas and experiences of both artists.”
The first full-time studio potter in Cape Town, South Africa, Hyme Rabinowitz adheres to the production philosophy: “form is number one; quality of glaze important; simplicity the keynote.”
Rob Barnard throwing at a Japanese-style wheel in his Timberville, Virginia, studio. For the past 20 years, he has been “absorbed in exploring that space between…predictable beauty and its opposite, the unaesthetic or homely.”
Colorado potter Diane Kenney in her Carbondale studio. “Potters say as much about their…attitude toward their pots in a mug as sculptors do in monumental pieces,” she notes in her autobiography beginning on page 37.
Florida potter Glenda Taylor in her Vero Beach studio. Determining how much time to give a career and how much to family is a common dilemma for today’s artists-mothers. Time well spent remains the key to happiness for Taylor.
Svend Bayer at his studio in Devon, England. “Like all great functional pots,” says Mark Hewitt, “Svend’s planters, pitchers, plates, casseroles and jars…are active, not passive”; for more on Bayer’s work, turn to page 45.
Kansas City sculptor Jim Leedy’s link to ceramics started early: “My mother craved and ate clay…during her pregnancy,” he claims. Since then, “clay has been constant in my creative search. It has taken me to many countries…and has given me to opportunity to leave my work in many places.” An article about his life and work begins on page 57.
Pat Charley in her Oakland studio; an article about her pattern influences and silk-screening techniques begins on page 47.