Artist-in-residence Graham Marks in his studio at Cranbrook Academy of Art, Bloomfield Hills, Michigan.
Teapot, 9¾ inches high with cane handle. Lizella clay (indigenous red stoneware), with equal parts nepheline syenite and Gerstley borate glaze, fired to Cone 9 in oxidation. The piece was made by Atlanta potter Rick Berman.
Wayne Higby and a “landscape bowl” nestled in hay (his raku fuel of choice). The wooden, lidded box is a chamber he built specifically for post-firing reduction.
Nancy Selvin surrounded by dozens of slip-cast ceramic eggs in her California studio; her story about the major influences affecting her artistic development begins on page 47.
Bruno La Verdiere with works in progress and “Lake Shore Guardian,” left, solid stoneware to to 9 inches thick, stained black. His story about the major influences he encountered on the path from a monastery to his own private studio begins on page 22.
Salt-glazed jar, 11.5 inches in height, wheel-thrown and paddled stoneware, partially coated with white slip, by Warren MacKenzie. Since the early 1950s, Mac Kenzie has responded to the “essential need for functional pots at affordable prices.”
Barbara Miner has “made all the mistakes you can think of,” yet she still feels very positive about operating her own craft business.
Brook Le Van at the Omaha Brick Works, where he purchases pallets of freshly extruded pavers for constructing sculpture. “Instead of using a lump of raw clay, assigning a particular meaning to it and then building something, I start with a brick, an object that can metaphorically represent something, like ‘shelter'”.
Building a wood-fired kiln with Doug Casebeer (top) at Appalachian Center for Crafts near Smithville, Tennessee, challenged workshop participants with “total involvement.”