Connie Norman
Connie Norman

Western Table Manners – NCECA Houston

March 12th, 2013

NCECA is coming up FAST!  I’m having a really hard time keeping up!  Mike Olson and I coordinated a group show for NCECA of mostly western ceramic artists.  Our show is called Western Table Manners, and it’s all over the table in what will be in the show.

Houston Community College – South East

6815 Rustic

Houston, Texas

 I will post pictures when I get to NCECA, but for now, here is the PR that the HCC put out for all the shows that are going on at the college.

Here is a list of who’s in our show. 

Kurt Anderson

Elaine DeBuhr

Danny Brown

Rod Dugal

Lynn Munns

Connie Norman

Ryan Olsen

Mike Olson

Lisa Pedolsky

Yoko Sekino-Bove

Ted Vogel

Below you can see a list of all the shows at Houston Community College – Southeast

Brought to you by the letter G – ABC’s of Ceramics

March 7th, 2013

 The Letter of The Day: G

Back with the ABC’s of Ceramics.  Today we have the letter G, with Gillian Parke, Gail Kendall

and Jim Gottuso. 

(This is my one of my New Year’s resolutions; to finish this series – The ABC’s of ceramics!)

G is for Gillian Parke!

My husband bought me Gillian Parke’s vessel for Christmas few years ago and then her work landed on the cover of Ceramics Monthly.  When he saw her pot on the cover he was so proud of himself!  Todd gets me nice pots for gifts, but he was vey happy with this one.   I do I love her work.  Her pots remind me of lot of the pots I saw in Japan, with the feldspar inclusions.

My son and I went out on a cold and windy day to find a place to photograph the G entry, Vander has gone with me on most of these adventures.  We tried several spots before we found the right photograph that was going to work for her beautiful pot.

G is for Gail Kendall.

I got these  two of Gail Kendall’s pieces when years ago, I took a workshop with her at Anderson Ranch Arts Center.  I love the fact that she is a complete hand builder!

I was trying to figure out what would be a great shot for Gail’s olive dish and it dawned on me it looked like a submarine,  then I had to convince Vander to stay still for the shot, always a hard feat.

G is for Jim Gottuso.

Jim Gottuso’s tumbler I bought for my husband because he always complains that cups and mugs are not made for his hands.  He always looks for the biggest handle, even if it out of proportion and looks a bit odd.  When I saw this tumbler I thought finally a cup that Todd can use that will fit his hand!

Check out Jim’s interview, he was one of the first artist’s interviews on my blog.

Check out his interview here!

If you’re interested here are the other posts from The ABC’s of Ceramics. 


Or just click on the link on the right hand side under categories.

Forrest Lesch-Middleton – Artist Interview

March 4th, 2013

Today’s interview is with Forrest Lesch-Middleton.  He is in the second week of his Kickstarter to expand his studio, for his newest chapter in his life to make handmade tiles for a company called Clé Tile.  I believe in Forrest and wanted to support him, plus I just love his work!   Hope on over to Kickstarter and check out his project watch the video and learn more about what his is doing.  You are just getting a taste of his project and ideas here.  Good Luck Forrest I wish you the best!

Tell us a little about yourself!

I am and have always been a potter! I began in the studio Freshman year of high school and it just stuck! My brother is an amazing 2-D artist and I had to do my best to avoid any classes he was in or I would end up being hazed! So, it was clay, and I loved it! At that point I was convinced I was going to be an auto mechanic, the fast cars went with my mullet.

Now, exactly 25 years later and I have discovered the world through clay. I had a teacher in high school tell me that it was in every culture and on every continent; I would always find common ground wherever go. And I have! She was also the fist person who told me I could go to college for pottery. I thought she was joking! But alas with her prodding me along, and after two years in between high school and college, I finally ended up at Alfred, eventually graduating with a BFA in 1998.

After a year in Maine, at Watershed; two years in Mendocino, California at the art center, and 3 years owning a gallery in Berkeley, I figured Grad school was a good choice. Utah State was the best decision I could have ever made personally, and of course for my work. I was ready to go, I went with the intention of injecting my work with a heavy dose of surface and history, and I think it worked out quite well. I will never be able to credit John Neely and Dan Murphy enough. They create an atmosphere that is ideal for developing a respect for the material and education while also honoring the social aspects that the material can demand of someone.

Now, Finally here I am six-and-a-half years later, (five of which were spent developing a program at a local Arts center) and I have committed the next chapter to tile!

When and how did you discover the passion for ceramics?

My passion for clay came to fruition on the many trips I would take to potters studios around New England after dropping my mother off at the airport, (she travels doing community intervention for indegenous communities that struggle with the trauma of government and racial oppression (that’s a mouthful!), and I often refer to her as my hero). I fell in love with the day-to-day studio ethic of a production potter, which I recently realized I have rarely glimpsed in my career. Instead I have gone in the direction of a potter/educator/tile maker/adminstrator as a way to make a living in clay in a very affluent part of the country. Making pots full time in the San Francisco Bay Area is very tough, so I have been happy to create my career as someone who has truly embraced and fallen in love with every aspect of the medium.

What other clay artist influenced you if any and why?

I think that this changes almost daily. History is the best teacher because it forces me to think critically as the artist, the historian, and the student. But unlike most good teachers, history never seems to return any of my emails! That said, contemporary artist are tricky; right now: Howard Kottler, Ursula Hargens, David Linger. I honestly don’t look at too much contemporary clay these days, so much of it is so good that when I do I often find myself thinking “Now why didn’t I think of that. Instead I am trying to shift my focus to the periphery of what I am enjoying these days; global events, science and the universe; the latter is a bit too big to ignore.

Has a significant personal experience shaped your work?

Yes, the bombings of Afghanistan, Yemen, Iraq, Pakistan, Israel, Somalia, Palestine, Lebanon, Syria, Jordan, Egypt, Haiti, Vietnam, Cambodia, Laos. And the entire political tension that has overshadowed the people of the Middle East since long before world war two.

What techniques do you usually work with and what is your favorite tool?

I have been working primarily on the wheel since having started in clay, but now, architectural tile and monolithic tile is very appealing to me. My Favorite tool is my ridiculous looking heat gun and my hole poker for teapot spouts. I also like my little tile press!

Here is Forrest’s video of his Volumetric Image Transfer if you haven’t seen it’s amazing to watch!

There is a remarkable touch of sensibility in your decorations. Tell us more about how you decorate and where do you get inspiration from.

My decorations are not my own. I use historic pattern right out of the books and images I find that illustrate the places that I draw the most inspiration from; primarily the middle east and the asian countries that have influenced middle eastern pattern over the last thousand years. So I have to give credit where credit is due. My surfaces however are really what I am trying to use to give a deeper meaning to those patterns. When a piece has turned out well in my eyes it is a mostly a comnbination of the consisitency of the slip, transfer medium and clay coupled with the speed at which I remove the transfer from the clay. This all underlies what the atmosphere in a reduction cooled firing does to the object to give it a patina that I am happy with.

You work with great delicacy when using patterns and symbols of ancient cultures on your work. How do you choose these patterns?

The patterns I choose to use are indicative of the story that has been told throughout history of how commerce and trade have effected cultures with the end result usually being a war or conflict that is played out in the middle of the lives of the everyday person, effecting them in horrific ways. Pattern is as old as time, and indeed MUCH older than humanity. Complex geometric patterning is not simply a mark of humanity. When people refer to sacred geometry they are referring to the crossroads of science and mysticism,. Right now, I am completely engrossed in the very complex patterns of sound and its effect on the physical realm.

What advice can you give aspiring artists struggling to find their own voice and look?

I used to work as a corporate communication consultant. It was fun work that allowed me to ask very hard questions of people in very high paying jobs. I was taught a number of great exercises by many masterful people. The exercise that I use most frequently in teaching students that are stuck is called the five whys, and it very simply goes like this:

What is important to you?

Why is that important?

Why is that important?

Why is that important?

Why is that important?

Once you have gotten to the fifth why (and don’t avoid the hard stuff) make artwork from that place. And if you get stuck from there, look back in history at least 100 years or more.



You have recently launched a Kickstarter for your Origins Tiles; please tell us about your project.

A friend from the United Arab Emerates introduced me to Kickstarter when I was exploring a body of work that I imagine will come to fruition through my endeavors in tile. She basically opened up the dome of crowdfunding and the light poured in! Simply, I have been making tile that speaks the same language as my pots, it was picked up by a very thoughtful and artistically minded tile company who just so happens to do FANTASTIC marketing, and now I have to make more tile; MUCH MORE TILE! Kickstarter will not only help me fund this project, but it will give me honest feedback, though dollars and cents, as to the validity of my forray into tile (Disclaimer: never let money make your artistic decisions for you; unless of course you live in the real world and have children, car payments, grocery bills etc. then just do what you love well and do it just differently enough that it brings in a little income)

Through Kickstarter you’re hoping to raise $20,000 how will this help your tile production?

The $20,000 will be for a Tile Press, pug mill, and kiln. If I don’t make the goal, I get none of the money. If I make more than the $20,000 goal, I will put it toward a silkscreenexposure unit for the tile, and another top secret project that I hope to implement that could really change the way some people do some things with clay and glaze! – To be continued. I hope!


For more information please visit Forrest’s site here.

Here is the link to his Kickstarter.

Follow Forrest on Facebook too!

Thanks for visiting the blog and taking time to read all about Forrest.  I hope you take a minute to comment to let Forrest and myself you’ve stopped by.

Jonathan Kaplan – Plinth Gallery Artist Interview Part 2

February 28th, 2013


Back with Artist Interviews again! Jonathan Kaplan has his second interview on my blog, (read the first interview here.)  Jonathan is the owner and curator of Plinth Gallery in Denver, Colorado.

“Divertimento” opens at Plinth Gallery on First Friday, March 1, with an artist reception from 6-9pm.

The exhibition runs through March 30th. 

Building on the 2011 exhibition, “Prelude” at Plinth and most recently, “Ceramic Forms” at Laramie County Community College, Kaplan continues to explore the textured slab and his signature use of industrial parts and fittings in this new body of work. The pieces in “Divertimento” reflect his interpretation of the theme of parts and wholes, or what Kaplan refers to as “the combination of singular objects combined to make complex forms.”

Incorporating wheel thrown, hand-built, and press-molded ceramic parts, Kaplan builds both sculptural and functional vessels including large basins, condiment sets, serving pieces and teapots. His deft use of industrial parts such as phenolic ball knobs, metal handles, shaft collars, and coated cable provides both a visual and structural counterpoint to the ceramic form and surface. In addition, his bird and fish forms appear, as seen previously in his “Nouveau Moche” series as well as his “Plinthed Vessel Series”. -Plinth Gallery

For more information on Jonathan and Plinth Gallery make the jump here.

You have a solo show coming up at Plinth Gallery; I hear that you have chosen musical titles for this exhibition and at Plinth in 2011.  How did you come up with the title of “Divertimento” for your show?

Classical music has very interesting structures and can take many forms. Having been a student of both classical piano and flamenco guitar in my past, I understand some of how music can be put together. There are small parts, sections, or elements that are combined to present a larger part. For instance, in music dynamics,  the opening of a the first movement in a piano concerto might be played forte or loudly, and then it transitions decrescendo, decreasing in volume and tempo soon thereafter. The analogy for the work in this exhibition the “parts and wholes”, how it is constructed from smaller parts that comprise and whole, of completed piece. The first exhibition “Prelude” ( a movement or section of a work that comes before another movement or section of a work, although the word also has been used for short independent pieces that may stand alone), was the beginning of this theme “Divertimento” (an composition usually in a number of movements)  is the next step in moving this body of work forward.

Can you tell us what you are making?

I have included new large basin constructions and an entirely new grouping of handbuilt teapots. The fish and bird elements have again surfaced and have now become fully integrated into some of these pieces.


When and how did you discover the passion for ceramics?

While I was intrigred with how ceramic objects were made when my first instructor, Rebecca Willis at Oakwood School, made a piece on the wheel.

I think my passion for ceramics began when I saw Edward   Kidder’s book  “Jomon Ceramics” and learned that the history or ceramics paralled, or even charted the evolution of cultures and of human beings.

I’ve been a fan of your work for a long time now, and I notice that you approach to clay is to incorporate industrial components together to make your work.  Would you elaborate where that idea came from?

I had a ceramic  manufacturing business for many years and there was enough forming and finishing equipment to whet the appetite of any potter.  It was important to have spare parts on hand and I was already a customer of Grainger’s, McMaster-Carr supply, MSC, and a host of other industrial suppliers.  Browsing these incredible compendiums of “more stuff then you could possibly imagine”, I wondered what I might do with some of these parts.  Over time, I have learned that more is less, and I now have good selection of industrial fitting, fasteners, components, cable, rubber hose, etc. that I incorporate in the design of the work.  I am also enamored with how clay is the antitheses of all these parts.


Over the last few years I have had the pleasure of seeing the bodies of work you produce, with every body of work you have a new series, and how do you come up with each series? 

 I spend a good deal of time thinking about what I might make and how it will take shape. I struggled for a while with the idea of what constitutes a “ signature body of work”. After much anxiety, fear, and being told that I overly think stuff way too much, I realized that what I needed to do was to determine what my strengths were as a ceramic artist. For me, one of my strengths was form and design. So I then began to approach what I could make from a design point of view. Process then just became a means to an end. I just don’t get all that caught up in ways of working or of ascribing judgment or dogma to any particular way of working with clay. Time is just too short for such mental machinations.


Has a significant personal experience shaped your work?

I worked as a professional mold and model maker for 16 years and it provided with an entirely new context about looking at ceramics. And how important it was for potters and ceramic artists to look at how ceramics are made industrially.  We need to look at the ceramics industry really as an ally rather than a foe. There is an incredible amount of information that can be of significant benefit to our studio practice if we would only take off the blinders and open our eyes. Well, we need to ask the right questions first…..

In you last interview you talked about working in your studio 5 or 6 hours a day.  How do you maintain a rigorous and consistent studio practice?

I have found that if I have a goal to work towards, it is a bit easier to maintain a rigorous or perhaps better put, a consistent studio practice. I am very easily distracted and am learning how to deal with this. Sometimes I think I am a slow learner. Ideas keep me motivated, but sometimes it is difficult to get started. Like most of us, there are so many other things that are necessary to get done during the course of a day! I know, all our plates are overflowing…….

What techniques do you usually work with and what is your favorite tool?  

I don’t have a particular technique that I usually work with. It all depends on what the idea is, then I can decided what I need to use or work with. If I think a particular item or part needs to be press molded or slip cast, then that is the technique I will employ. For instance, when designing the teapots in this exhibition, I had a particular curved spout in mind and, the obvious way to make this was in a press mold. I carved a plaster model and then made a simple 2 part press mold to make the spout.

However, I have a growing list of favorite tools: I use two Slabmats and  a Yixing mallet to beat out my slabs. I then use a rolling pin and two equally sized wooden strips to make a slab of a particular thickness. I do have a very nice selection of Bison tools. A substantial mechanical pencil with an assortment of leads, a Foray brand rolling ball .5mm(fine) or .7mm(medium) pen, and my sketchbook are favorites. I am starting to draw on my iPad using Paper53 or Noteshelf  (both apps). These are all very cool tools.

If you could do one thing much better, what might it be?

I can’t isolate just one thing, however…….

My time management skills need to be improved for sure.

I do not draw very well freehand, but I can get the idea across. I would like to be a better draftsman.

My typing skills are absolutely horrendous. They need work as I devote too much time to making corrections.

As someone who has been involved with ceramics for al long time, is there one important thing you might share?

Sure.  For me it is important to give back in some substantial way and to pay it forward. Currently, in am on the board of the Studio Potter journal. The journal is the documentation of how we work within the context of being part of a larger society. It is the chronicle of experience as potters and ceramic artists, a compendium of ideas. It is an important part of our ceramic culture and has been so for the past 40 years. We need your help to continue for the next  40 years.  So if you would like to join and receive this quality publication twice a year, please email me. (

Jonathan and Dorothy @ Plinth Gallery

Tell us what you do for fun when you’re out of the studio.

I wish I could spend more time outside of the studio! Gallery work keeps me quite busy, and I certainly would not have any studio practice whatsoever if it were not for the hard work of my wife Dorothy.  She runs the back end, so to speak, of the gallery. Her hard work and involvement with Plinth Gallery are truly responsible for its success. Thanks sweetie!


I have never thought of myself as an athlete or particularly athletic.

Nonetheless, I am an avid bicyclist and aside from being great exercise, any riding I do helps relieve stress for me. I have skied since my dad taught me at age 5, so I get out twice a week during ski season on my alpine or telemark boards.

Thanks for visiting the blog and taking time to read all about Jonathan.  I hope you take a minute to comment to let Jonathan and myself you’ve stopped by.


Clay Arts Vegas Workshop – Ceramic Arts Daily & Click!

February 27th, 2013


I’m frantically getting ready for my solo show at Clay Arts Vegas.  My production of pots has really slowed down now that Vander is getting older, and that he is more involved with activities.  And I’m getting older it’s getting harder to burn the midnight oil and get up early to go to work.  I hope with this kiln load everything turns out.  Keep your fingers crossed!

My show opens with a 2 day workshop.  I’ll be showing my approach to surface design.  It’s March 29 and 30 at Clay Arts Vegas.  Make the jump their website for more information.

Daily Clay App

Last night I got a sweet surprise when I opened my favorite Smartphone App Daily Clay and saw my vessel!  I love The Daily Clay App!  Well, let’s face it I’m a clay Geek!  I check my Clay App almost everyday!  But today it was all worthwhile!  If you have a smartphone and you’re a clay geek here is the link.  I know it’s an Apple App for sure, I don’t know about Droid.  Here’s the link about the App from Ceramic Arts Daily.

Lastly, this weekend I’m going to Laramie for Click: A Weekend For Wyoming Artists.  It’s a conference to help build the Wyoming Artist community and careers.  Our state is so big and everyone is so far apart that it’s great we have these conferences.  I’m sitting a panel called Pathways to Professionalism as Mary Jane Edwards as the moderator.  Mary Jane is the Executive Director of Jentel.  It’s an artist’s residency program in Banner Wyoming.  When I met Mary Jane years ago she was the president of NCECA.  Hopefully I will have some decent information to contribute to the panel discussions, my panel discussion partners are Elaine O. Henry and Marjorie Vecchio.  Elaine is the editor of Ceramics: Art and Perception and Ceramics TECHNICAL., and Marjorie is a photographer and independent curator. 

Thank you for stopping by the blog and taking time out or your day to read.  We love comments!

New York, New York

February 20th, 2013

Last month I went to New York City to help jury the Scholastic Art Award in ceramics and sculpture.  It was a great trip.  We had lively discussions judging the artwork.  I was on a jury with two other judges, one was an artist, she made sculptures, and the other was a writer/art critic.  In the past when I juried the Scholastic Art Award for Minnesota, I did it at home on-line.   All three of us came from such diverse backgrounds and different aesthetics.  I was the only one who was a teacher.  Jurying artwork for me is never easy.  I know, the hope that each student has as they are entering their work.  I wish we could have given feedback to students and teachers as their work was eliminated.  But alas that is not how the art world works.  Welcome to the Art World kids, you have to become your own critic.

I’m sorry I don’t have images to show you of the work we selected.

Kris, Me, Hilarie, Deb

This was the best art trip, I got to see old friends Hilarie Goodenough and Kris Musto, and travel with my good friend and pottery buddy Deborah Britt.   Hilarie and I went to Alfred together, it was so good to see her and catch up.  She is now an art teacher at a private school called, The Town School in Manhattan.  I took one morning to visit her school.  It was amazing to visit such a posh and amazing school. Hilarie has a great art program and the kids and the school are lucky to have her!!  I got tons of lesson ideas from talking to her!  Kris is a college recruiter for MCAD, and she used to run the Scholastic Art Award for Minnesota.  Deb has been my traveling partner for several trips now.  I’m so lucky to have great friends with similar interests.

Please enjoy the slide show of the Town School.

  • A student work area.
  • Student work area.
  • Look wooden lockers, kids putting on ties!
  • The play ground on top of the building.

The Brooklyn Bridge

The first trip to NYC, my American studies Professor Eric Sandeen told me to walk across the Brooklyn Bridge.  I took him up on that suggestion, and have done it several times since then.  It is a beautiful walk.  I recommend that you walk from the Brooklyn side to the Manhattan side.  As you walk to Manhattan you can see the Statue of Liberty and picturesque skyline.   It is one of the oldest suspension bridges in the United States, and I really get a sense of history walking across it.

Judy Chicago’s The Dinner Party

This time we went to the Brooklyn Museum to see Judy Chicago’s The Dinner Party.  It was amazing!  I’ve always heard so much about it, but to see it in person was incredible.  I always thought Judy Chicago had made it all herself.  After looking at it for only a few minutes you realizes there is NO way she could have made this alone.  I really enjoyed learning how she brought all these women together to complete this vision of The Dinner Party.  This was my first trip to the Brooklyn Museum and it was well worth the trip.

The Guggenheim

Of course here is my gratuitous shot of the Guggenheim.  Deb and I went to see the Picasso Black and White exhibition. The show explored Picasso’s use of black, white and grey values, in his artwork.  I’ve never seen so many Picasso’s in one place before.

I’ve been to NYC several times since 9-11 but have never visited Ground Zero.  On this trip Deb and I went to the site.  Recently I read Breaking Ground: An Immigrant’s Journey from Poland to Ground Zero by Daniel Lebeskind.  I’m not generally an architecture fan, but I read the book in two days.  I love how Libeskind thinks of architecture as sculpture.  This trip I had to go see it for myself.  Freedom Towers are beautiful.  The 9-11 Memorial is moving to say the least.  Here is a short slide show of the memorial. 

  • The Pod Hotel at night.
  • The mod hallway at the Pod.
  • My room.
  • The Salvation Taco the restaurant at the Pod.
  • Ping Pong anyone? While your having your tacos you can work it off with a little ping pong.

We stayed at The Pod Hotel.  I was worried about finding an affordable place to stay in New York, and Kris told me about the Pod Hotel.  It is really reasonable.  It doesn’t have all the frills of a five star hotel, but it is super hip, very contemporary, and in a great location.  Our Pod was right by the Chrysler Building.  BTW, I tried to sweet talk the guy at the Chrysler Building to let us go up to the top, and I thought he was going to say yes, because we were from Wyoming, but no deal. 

Josh DeWeese’s jar.

Naturally, we had to see some pots!  Deb and I went to Greenwich House Pottery for Josh Deweese’s reception with Peter Callas.  Deb is good friends with Peter so he drove in from New Jersey to see her, Josh’s reception and dinner.  BUT…, the surprise of the night was I ran into Kurt Anderson at Greenwich House.  He was featured on my blog awhile back, check out his interview here.  We really had a western contingent at the Pottery that night, Deb and I from Wyoming, Josh from Montana, and Kurt who I know from Laramie, Wyoming many years ago.  Kurt now lives just out of  NYC now.  But I still consider him a western boy.             (You can see Peter behind Josh’s jar checking his phone.)

Mud, Sweat and Tears

One night we were trying to see the High Line, but it was closed, as we were walking looking for the entrance, we walked by Mud, Sweat and Tears Pottery.  What a great name!  So, we stopped in to check it out.  People were happily making pots!  My next trip I will get to see the High Line! 

Parting shot from Evolution.  Raccoon penis bones anyone?  Only $8 dollars! 


January 10th, 2013

In Cheyenne we have a monthly art tour called Art Design and Dine, it runs for nine months of the year.  The tour is on its respite now; the Nagel Warren Mansion is hosting the show Encore, with the some of the artists that have had work this past year on the Art Tour.  Encore opens January 1 and will run through March!  Thirteen regional artists are represented Mack Brislawn, Jeanie Schlump, Gail Watford, Jennifer Rife, Do Palma, Dave Roswell, Georgia Roswell, Vanda Edington, Don Edington, Christi Beckmann, Win Ratz, Julie Nighswonger and me.

Wordless Wednesday

January 9th, 2013

A New Home for Envy!

December 20th, 2012

The other day I got a two great Christmas gifts from two customers from The Holiday Studio Sale at Bonnie Lebesch in Fort Collins, Colorado!  I received an email from Colleen showing where she has my vessel Envy in her house!  It looks like I have prime real estate in her house.  What a treat to see the new home for my work.

Later that day this card from Mickey Bookstaber was in my mail box. I met her during the Bonnie’s Holiday Studio Sale also .  She came up to me and said she recognized my work from the NCECA show; Uncommon Ground: Impact and Influence in Arvada, the show was back in 2011.  That in itself is the greatest gift to have someone remember your work from over a year ago.  She said she had taken a close up of my vessel and was using that image for cards, and she sent me one.  This absolutely made my day.


Here are some pictures of the show @ Bonnie’s right before things really got going!  It was really a great set up.  Bonnie lives just a block off of Old Town in Ft. Collins, Colorado, which has great shopping.  So lots of people were out Christmas shopping.  The show was fast and furious, and we always had a big crowd.  I hope we can make it an annual show and sale.


 Here we all are… starting from the left…     Laurie Beth Zuckerman, Lili Francuz, Jacque Ristau, Shana Salaff and me, seated in the middle is Bonnie Lebesch.

Wordless Wednesday

December 19th, 2012