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Artists and Makers
Master of Art and Science
Prasch has been addicted to glass for a long time. She took her first flame-working classes (using torches to fashion…
Love Among the Ruins
In the aftermath of her mother’s death, she returned to northern New Hampshire and photographed her home with the hope that the images she produced would provide a greater understanding about her mother, her childhood and herself. “A photograph is about a moment between you and what you are photographing,” she says, “and I had no photographs of my mother…I did not know her at all.”
Looking Forward
Mazur’s work from 1960 to 1980 was primarily figurative. “In 1993 there was a real change, although I’ve never thought of my work as abstract,” he says. “The word abstract has very little meaning for me. My tendency is to prefer the distinction between narrative and non-narrative.”
Candid Camera
Her mother gave McPhee her first camera when she was twelve, and she went on to study under the renowned photographer Emmett Gowin when she arrived at Princeton University as an undergraduate in 1976. McPhee cites the central importance of Gowin’s influence on her work, not only as a photographer who conveys intricate narratives through a visual medium, but as a teacher who encourages students to find their own way.
Beauty in the Beasts
McKie’s furniture incorporates what she calls the essence of an animal rather than a strict representation. As she explains about her black marble Hippo Bench, “No hippo has legs like that. I am always trying to strip away everything and get to the bare essentials of the hippo, call it the ‘essence of hippo.’ ”
Threads of Genius
Fowler-Miller’s work is known for its improvisational quality. “Sometimes I call it haphazard,” she jokes as we tour her attic…
Rocks Star
Lew French stands in front of a massive fireplace made of thousands of stones, some the size of a Mini…
The Height of Depth
How did Aho become Aho? “All kids draw,” the forty-year-old artist says. “Most stop. Not me. I just kept drawing.”
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