Texas potter James Watkins tells of the past experiences and current influences affecting his work in the profile beginning on page 46.
Both Sandy Brown (shown in her studio in South Molton, Devon, England) and husband Takeshi Yasuda “came to pottery largely by accident,” yet now they produce “some of the most vital ceramic work in Britain today,” says author Tony Birks.
Shown stoking the anagama at his studio, politically active Norwegian artist Torbjorn Kvasbo hopes to “create subdued and plain-spoken pieces that will promote contemplation.”
Connecticut artist Elizabeth MacDonald; for the past ten years, much of her time has been spent on handmade tile murals.
Florida artist Christine Federighi uses two electric kilns stacked one on top of the other to low fire columnar sculpture infused with personal figure and house symbols.
Tatsuzo Shimaoka at the firemouth of a four-chambered climbing kiln at his studio in Mashiko. One of Japan’s most successful potters, Shimaoka talks about his life and work in the revealing autobiography beginning on page 45.
Texas potter Harding Black outside his San Antonio studio, circa 1963. Recognized as “a master of glazes” (he ran 10,000 tests in one 15-year period), Black talks freely about his 60-year ceramics career.
Rather than lifting fragile raku ware from the kiln for postfiring reduction, Brazilian potter Sara Carone simply removes the kiln’s fiber lid, throws in dry sawdust and lowers a steel-drum reduction chamber.
Firing “Gasp,” a site sculpture addressing humanity’s fragile relationship with the earth, by Joseph Mannino, Pittsburgh.
Los Angeles artist David Roesler uses inlaid slip to produce intricate patterns on his slab-built earthenware boxes.