Pat Charley in her Oakland studio; an article about her pattern influences and silk-screening techniques begins on page 47.
Studio potter Richard Aerni; developing efficient methods (including the use of local materials and single firing) has played a key role in his success.
Ceramist/critic Sylvia Netzer with her installation “Post-Toxic/Neo-Plastic” at the A.I.R. Gallery in New York City; a review of her work begins on page 50.
Bobby Silverman in his Baton Rouge, Louisiana studio.
Leslie Lee in her Portland, Oregon studio; the portfolio beginning on page 43 takes a personal look at her professional life.
Mississippi artist Ron Dale with his tongue-in-cheek shrine to George Ohr, the “mad potter of Biloxi”; a review of Dale’s “disorienting” work begins on page 65.
Though considered precious ornaments, California potter Andrea Fábrega’s porcelain miniatures remain rooted in functionality—yes, lids are removable and teapot spouts pour.
Running one of the largest production/studio potteries in the U.S. requires a good sense of how to design, use machines, manage people and keep records. Through an in-depth look at his work and processes, Pennsylvania potter Bill Campbell explains how and why he built such a large-scale operation.
Porcelain potter/sculptor Coille McLaughlin Hooven in her Berkeley studio; see the portfolio beginning on page 33.
Kansas City potter Steven Hill considers his work “not so much a product line developed to fill a particular need, but a functional reflection of my personality, aesthetic sensibility and maybe even a bit of my soul.”