Phil Rogers understands that the studio potter is an artist who seeks to create beauty through a utilitarian object. The beauty in such pieces emanates from both the potter and the materials he uses, and as a result, indeed may have some type of transforming effect on others. In forming and decorating his own pottery, Rogers tries to be simple, direct, and effective. This is best achieved by concentrating first on form and proportion. Like the Chinese Song dynasty potters, Rogers knows that a pot's success is determined by these essential curves and he has developed a feel for forms that are pleasing and harmonious. Because of the muted and utilitarian aspects of his ceramics, some will refer to Rogers as a potter in the 'Anglo-Oriental' mold, even though he has no concrete connection to Japan's folk art movement. He is content to work within the larger world tradition of producing solid, well-made vessels that bear a more subtle mark of creativity than the idiosyncratic works of more overtly individualistic ceramists. Whereas there is a movement in studio ceramics artists to treat clay either as a convenient medium for sculpture or as a three-dimensional canvas for painting, Rogers has made his mark with an integrated approach to ceramic art: clay, form, glaze, and decoration all combining to create a harmonious whole.<BR>This book, with an in-depth interview with the artist, and full-color illustrations throughout, will allow the reader to appreciate the historical context and profound beauty of contemporary fine art pottery.