Susan Fairhead (in the foreground) completes every step of surface design—like all decorators at England’s Moorcroft Pottery.
From the exhibition “Pitcher, Jug, Ewer” a $1200 stoneware pitcher, wheel thrown with vertical incising and “ribbing,” 17.5 inches high, by Val Cushing, Alfred University ceramics professor.
Pennsylvania potter Jack Troy at the firemouth of his 24-foot-long anagama in which “work is loaded in complex configurations according to the ‘fire weather’ in a particular zone. I visualize the flame as being a kind of cartographer, mapping the work with textures and color.”
Stephen De Staebler with works in progress.
Jun Kaneko with a portion of his “Polka Dot Wall,” approximately 12 feet in length, slip-decorated tiles with Cone 6 transparent glaze.
At work in his studio, Minnesota potter Jeff Oestreich finds ‘comfortable can lead to dead work.” He once was reluctant to make changes; now change is welcome.
“Fireplug,” actual size, perlite and ball clay fired to Cone 8 in a saggar filled with vermiculite and copper, followed by a Cone 06 glaze firing, multiple Cone 017 china paint firings, a Cone 017 luster firing and a final firing to Cone 018 for melted glass details, by Robert Shay.
Glazed and lustered whiteware vessel, 24 inches high, by Anna Silver.
Korean pickling jars awaiting single firing in a wood-burning tube kiln.