We'll be potters, we'll be painters, we'll be textile designers, we'll be jewelers, we'll be a little this, a little of that. We were going to be the….

I find it really enriching to make pots which people are using and which they come in contact with, not only visually in their homes but tactilely - ….

And as far as I know about Alix's [MacKenzie] work, I don't believe she ever did any sculptural work at all. It was always pottery..

Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not f….

I make a lot of pots in a year's time and some of them are good and some of them are mediocre and some of them are bad. If they're really bad and I'd….

This is something which I think I have been able to communicate to both people I have taught and people that have purchased our work since that time,….

In searching for further training we turned to England and Bernard Leach. We thought since we had responded to his book so strongly that this would b….

[Sculpturing] didn't stick with me. I never felt I wanted to go on with that..

Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you do something with this?" And she'd look ….

I thought, oh, I'm going to be a painter. And eventually my family had moved near Chicago, and when I graduated from high school, I went to the Chica….

When I was in school in the Art Institute, we had several problems during the course of the time we were taking ceramic classes where we had to do a ….

In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it the way you think is right at that time….

Eventually we even got to the point where we could disagree with [Bernard Leach]. I mean, when we first went there, gee, I mean, this was a man who h….

In looking at these pots at the Field Museum, Alix [MacKenzie] and I both came to a conclusion individually but also collectively that the pots that ….

[My pots ] are not like [Hans] Coper's at all, but the idea came from seeing catalogue of his work, although at the time we knew Hans, his work was n….

I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I t….

Remember, this is back in the 1940s, and it was sculpture which probably - in my instance probably came out of the European influence, [Alexander] Ar….

So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was nonexistent..

The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear becaus….

If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day….

In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life dr….