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The article examines the life and work of the potter Richard De Vore. Particular focus is given to the techniques behind his clay vessels. Additional topics discussed include his training in Toledo, Ohio, his training with the Finnish potter Maija Grotell and his use of a variety of surface textures and designs.

The article features ceramist Chris Gustin. It is stated that Gustin's vessels are associated with a long tradition of investigating the Dionysian and Apollonian aspects of art and perception. His practice is noted to be more than an anachronistic adherence to early 20th-century ideas and styles due to the confirmation that contemporary neuroscience and cognitive psychology have given to modernist claims about perception. It is indicated that Gustin has felt a strong attachment to the functional vessel as a constant.

The article discusses the concept of quietness that can be found in the vessels of Nebraska ceramist Peter Pinnell. The author argues that his vessels reflect a conception of art that is not typical of the postmodern age and a work of art that is parallel to the painting "Nocturnes" of James Abbott McNeil Whistler or the lyrical abstractions of Raoul Dufy. He asserts that Pinnell's works have some aspects of the Asian ceramic tradition, which Pinnell considered as encompassing everything that he thought of as ceramic beauty.

The article features Tom Folino, who was a movie producer and casting director in Hollywood before becoming a ceramic artist. Folino enrolled as a special student in ceramics at the University of Massachusetts in Dartmouth, Massachusetts and studied ceramics in Italy. He has developed still-life vessels of different shapes, colors and sizes that are attached to a metal shelf and emphasize composition, balance and scale. Folino used the vessels as a way to evoke his emotions and in interacting with people.