[I made in army] all sorts of dumb things, but it did teach me a lot about the silk-screen process.

Other thing about [Field Museum of Natural History] which inspired was that in a group of pots you wouldn't see a single example of this kind of pot. You would perhaps see a case with 20 different examples. So you realize that these pots could be repeated again and again, and each time there would be minor variations in them.

We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think that it should be any different in mid-North America 20th century? And we decided then that our work would center around that sort of utilitarian pottery, and that's what I've done ever since.

At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big oil-fired kiln that they had. He was still sitting what we call a kiln watch at that time, and he wondered if we would like to sit the watch with him and talk. So naturally this was our last opportunity to talk with him, so we said yes. We didn't realize Bernard's kiln watch was from 1:00 in the morning until 4:00 AM.

We did respect [Bernard Leach], although we also were willing to challenge ideas and at least put forth our feelings about the way the pottery was run, about things that were done, about the pots we were making, etc. And we would get into sometimes some very fierce arguments. We'd be shouting at one another because of disagreements.

Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not for art content but for their relationship to the anthropological history of mankind.

I took a number of graphic courses, lithography and etching and wood engraving [at Art Institute]. And particularly as I got more and more into ceramics, I thought, life drawing doesn't have anything to do with ceramics.