Los Angeles artist David Roesler uses inlaid slip to produce intricate patterns on his slab-built earthenware boxes.
Oregon potter Cheryl Williams with an array of her “Explorations in Gold”; her article explains how to apply gold leaf.
Canadian ceramist Bruce Taylor in his Halifax, Nova Scotia, studio; this artist’s sculpture draws from varied sources, from pottery and architecture to engineering design.
Pittsboro, North Carolina potter Mark Hewitt inside his 900-cubic-foot, wood-burning tube kiln. Though he was born into a pottery family, their tradition was fine china manufacturing, not handmade salt-glazed stoneware.
Florida mixed-media artist Nan Smith provides an intimate view of her current work, from its forming and decorating processes to its reason for being.
Arizona potter Don Reitz, often called “the king of salt glaze, the workshop king, the Kenzan of American ceramics, etc.,” has continued along a path of risk and change.
Ban Kajitani brushing slip onto slab sculpture destined for a one-man show in Tokyo.
Ellen Shankin in her Virginia studio. Ellen is one of 31 potters/clay artists who received National Endowment fellowships this year.
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.