Robert Eckels outside his studio in Bayfield, Wisconsin; turn to page 40 for the story of how working one summer with Eckels had a profound and enduring effect on an apprentice fresh from college.
Working exclusively in black-and-white, California artist Kathy Erteman decorates whiteware with simple glyphs carved (inside and out) through black slip.
Adrian Saxe in his Los Angeles studio; a portfolio covering the 30-year evolution of his work begins on page 37.
To Florida potter Patrick Dragon, the surface of a wheel-thrown vessel is like a plaster wall ready for a fresco. “It’s sensitive to almost anything—I can paint on it, apply glazes, even add ceramic decals, gold leaf, ink and a variety of other collage elements.”
Dale Zheutlin (New Rochelle, New York) prepares a model for a commission at her converted-warehouse studio. Her article about “Site-Specific Wall Sculpture” describes how to produce a large, multisectional wall form as well as sell the concept.
Sculptor Gail Weissberg’s search for stimulating environments has taken her from New Zealand to the United States and now to France. Recent work combines American and Oceanic influences.
California artist/teacher Les Lawrence’s 30-year career includes production dinnerware for Neiman-Marcus, and experimental pottery and sculpture involving innovative technical processes.
Philadelphia artist Syd Carpenter (photographed with a twisted root form in progress) draws inspiration from many of the same sources as Steven Donegan, but that’s where the similarity in their claywork ends, though they’ve been together for over 16 years.
British potter Jon Middlemiss determined 14 years ago that he was “not suited” to functional ware, opting instead to develop more articulate forms by segmenting and reassembling wheel-throw vessels.
West Virginia artist Dan Keegan explores concepts of duality in his press-molded terra-cotta sculpture.