I enjoy the labor required in the ceramics studio; the physical effort required to change one object into raw material for the creation of another object is transformative not only for the material, but for my understanding of how the world fits together,
of how many things we take for granted. —Sherman Hall, Editor
On the cover: Mark Knott’s watering can, 13 in. (33 cm) in height, wheel-thrown and altered porcelain with flashing slip and copper blue glaze decoration, soda fired to cone 6. Photo: Walter Montgomery.
In This Issue
Working Potter: Mark Knott, Suwanee, GeorgiaWorking Potter: Linda Christianson, Lindstrom, MinnesotaWorking Potter: Jeremy Nichols, Broxbourne, England
Working Potter: Lisa Naples, Doylestown, PennsylvaniaWorking Potter: Tara Wilson, Helena, MontanaWorking Potter: George Lowe, Decorah, Iowa
Seattle Ceramics 1964–1977: Connoisseurs’ Cross Section by Matthew KangasThe Ceramic Continuum of Nikos Rodios by Mark MessengerVirtual Paris: Ceramics and the World Wide Web by Glen R. Brown
Departments
Letters Exposure Tips and Tools Clay Culture: Order of Canada by Sherman Hall Clay Culture: Heilbrunn Timeline of Art History by Jessica Knapp Studio Visit: Billy Lloyd, London, England Techno File: Copper Oxide by John
Britt Spotlight: Mobile Raku by Brett Thomas
