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The article offers insight on the historical account of pottery, ceramics. Topics discussed include an overview of pottery, the multi-form transition of pottery, the appropriation of nature, the artistic origin of pottery, the collaborative projects in pottery, the functionality of fine arts, and the direct engagement of art to nature.

Examines the conceptual basis for the body of work from artist Christopher Scott Brumfield titled "On the Origin of Barnacles," that features free standing and wall-mounted organic forms executed using thick groggy earthenware, recycled glass and dry chunky glazes. Subject of "Gulf Quilt," a wall piece created from a mixture of rough, grog chunked earthenware, porcelain and melted cobalt glass; Weaving technique used in the collection of rounded and linear forms in "Puddle Wonderful"; Aspects of nature explored in "Rot Nacht."

The article profiles Jason Walker, an Idaho native and a fine artist specializing in ceramic work. He began his love for nature and interrogation of technology in his drawings constituting to his art work while in California. He creates his drawings with black underglaze on surfaces of porcelain plates, bowls, covered jars and boxes. An overview of his works is presented including Fir Control, The Window, and Untitled. The author concludes that Walker will persist in unsettling his audience with witty and powerful works that interrogate gaps between nature and technology.

The article presents the author's view regarding the works of Missy McCormick, an accomplished kiln builder. Her works are influenced by personal activities such as hiking, white-water kayaking and observing the natural world, which reveal her desire in establishing personal space, comfort and home. An overview of her works is presented, including the Altered Serving Bowl, the Green Crawl Vase and the Flashed Pillow Server. The author concluded that her works speak generously to all who look with care.

The article discusses the life and works of ceramic artist, Monika Diamantopolou. She is a Greek-German ceramist who devotes herself to the exploration of the parallels between art and nature as systems of active energy and communication. Most of her works stresses that nature is not the beautified one, but a dynamic balance of opposite ofrces. She created a diverse collection including free-standing constructions, human figures, among others. Some of her recent works were exhibited at the Astrolavos Gallery in Athens, Greece in October 1996.

The article features the works of artist, Noor Camstra. The article notes that Noor Camstra's work is the rendering of personal observations mostly from nature, at an abstract level. Her technique has its own line of development. She has been an independent ceramist for 15 years and has her own workshop. Her composition develops consistency and the forms are derived from nature including birds, crabs ad insects. She creates an interesting surface, increasing the effect by using glazes and sees to it that the origin of her motifs is not too direct.

In this article the author offers observations on the ceramic art of potter Peter Beard. Particular focus is given to the meticulous surface quality of his vessels, free-standing and wall-mounted forms. Topics include his use of an artists' sketchbook, drawing techniques in his glazing and his inspiration from nature.

A personal narrative is presented which explores the author's experience of being influenced by the natural world and its impact on his ceramic art works.

The article discusses the margins concerning the use of the term "ceramics" as a discipline as well as a material. It mentions that identifying the margins is important from a point of view that promotes and supports systems thinking because it contains the secrets that are related to the signs that manifest in the minds of artists from byproducts of their labors. According to Kansas State University Professor Glen R. Brown, ceramics symbolizes a state of mind of humans about the nature, more so than a constructed power.

The article offers information on the fountain by Emidio Galassi called "The Hedonist City." It is said to be a complex work, a gormal and chromatic synthesis of elements found in most of Galassi's art. This work is 40 meters long, one meter wide and reaches 1.30 meters in heigh and alternates full spaces and empty ones, recesses and projecting overhangs. The structure features a playful and ironic components of sculpture like the self portrait signature below it, the divine eye which lights the city and the snail, owl, lizards and iguanas.