Biography

I’ve been potter since 1972, a journey that began when I joined the Manchester Craftsmen’s Guild alongside Bill Strickland. As a lifelong learner, I’ve primarily taught myself through trial and error. In 1980, I acquired the building that houses Fireborn Studios and Gallery, solidifying my commitment to the craft. Since 1987, I’ve dedicated myself fully to potting, engaging in various endeavors such as retail shows, wholesale sales, offering classes, and managing a gallery. My techniques encompass casting, jiggering, throwing, and handbuilding. Currently, my entire body of work consists of one-of-a-kind cone 11 porcelain pieces. I experiment with ash glazes and traditional Asian-inspired high-fire glazes, infusing my creations with unique and captivating designs.

I have traveled extensively, visited potters and museums on 4 continents and studied in China. I am a member of the Associated Artists of Pittsburgh and the Pittsburgh Society of Artists, and a former president of the Craftsmen’s Guild of Pittsburgh,. In 2023 I incorporated Clay Pittsburgh and secured its status as a nonprofit.

Statement

I’ve been potting since 1972, and it’s been an absolute passion of mine. Twenty years ago, I created a copper red vase that came out of the kiln, and I said, “If I die today, I’ll be fulfilled.” That’s a rare experience for most people, but I’ve been fortunate enough to reach that moment more than once. Creating a beautiful and satisfying object is an incredible feeling. As I potter, I’m richly rewarded.

I see with my hands. The need to touch, pick up, and hold things made my mother, teachers, and shopkeepers nervous. I’ve always had a strong desire to work with my hands, to build, create, and fix things. It made me feel good about what I accomplished.

Every aspect of clay excites me. When it’s soft, it’s sensitive to the slightest touch and reflects everything done to it. It’s forgiving and can be erased and reworked. A finished vessel is a record of my emotional response to volume, line, form, and surface. The final firing resolves and clarifies that response, which is why my studio name is “Fireborn.”

One of the most exciting times for me is after a firing when I select the best pieces from the kiln and bring them home: a small pot on the kitchen table, a new rice bowl, or a large piece on a sculpture stand in my living room. As I look at them, I discover things I didn’t understand when I was working on them, but which now seem so essential.

Traditional functional pottery and Asian glazes have always inspired me. I’ve traveled extensively, visiting ruins, museums, and living potters. Functional pottery and ceremonial vessels tell the story of past civilizations, and I feel a connection to that continuum. I strive to blend form, function, science, art, design, color, and texture into beautiful, timeless pots.

Pottery has always been a sensual and tactile medium for me. The balance of a piece, the way a pitcher or teapot pours, the number of fingers that fit in a mug handle, the feel of a mug’s lip on your lips, the ring of a piece when you “ping” it with your finger, and the smoothness of a pot’s foot—all these things are important to me. You, too, when you hold a pot, sense these qualities, even if it’s unconsciously.

On the surface, literally, we’re all drawn to color. Next, we see the shape and appreciate it in terms of the pot’s function. But it’s the hands that have the most intimate contact with the piece, and that’s where I find the most joy.

Without getting too philosophical, let me assure you that all these aspects are fully addressed in my work. My intention is for everything I make to become a treasure, for me, and for you — a piece you’ll cherish enough to need that special bowl or mug for breakfast and be willing to hand wash it if necessary. Whether I make a simple mug or a large decorative art piece, I make each with loving care.

In 1985, I met my wife and partner, Donna Hetrick. Together, we founded Fireborn Studios. We collaborate on some pieces and also create our own work. Some of my work is signed “Fireborn,” others “Vito,” and sometimes I use chops.

Over the years, my work has evolved to include both practical ware for daily use and more sculptural ceramic art. In the past, I focused on wholesale production of high-fire porcelain dinnerware in various dynamic and colorful glaze finishes. I still produce dinnerware, vases, and various utilitarian vessels inspired by classical forms. Recently, I’ve been exploring more abstract experiments with pure form, creating stoneware wall tiles decorated with slips, engobes, and carved lines. The beauty of these tiles lies in the inherent drama and dynamism of color, line, and silhouette.