Conti Studios

Under the artistic direction and influence of David “doc” Crespi at the then Southern Connecticut State College, Michael began working three-dimensionally – 1962. Following numerous sessions at the Clay Art Center in Port Chester, New York and some years teaching Art for the Westport Connecticut Public School System, Michael traveled north to found the Topsham Pottery, studio and gallery in Topsham, Vermont. Michael operated this art space as both a production facility to produce functional stoneware and a facility to show completed works. Throughout the ‘70’s the Topsham Pottery studio and gallery provided functional ware and lamps for the “greater New England hand crafter market.”

In 1979 Michael relocated to South Florida and joined the Florida Atlantic Potter’s Guild.  During this time he initiated a series of investigations with clay and various effects of fire on the ceramic surface. Working with John McCoy and Angel Dicossola, Michael built kilns and acquired access to a range of atmospheric firing processes; which included smoke, salt, wood and soda firings. During the 80’s his work was presented in shows throughout the United States where he earned countless awards in the categories of pottery and sculpture. In the late 1990’s Michael opened the critically acclaimed though short-lived, Mud Hole gallery in Boca Raton. The Mud Hole gallery included works by Steve Tobin, Inna Babaeva, Angle Dicossola and others. The new millennium finds Michael refining and promoting his particular clay construction method. He has come to call the construction, The Pick and Stick Method. “Now there is nothing original about the fact that gooey pieces of super moist clay have little trouble attaching one to the other without going through the many arduous processes of scoring, slipping, pounding and/or rolling,” Michael explains. He continues to explain that clay-folk have employed these methods for centuries. What makes Pick and Stick unique is the manner in which he uses the stickiness. The approach allows for the development of some huge and very unconventional forms while expending minimal amount of physical effort during the entire working process. Carefully managing “time” as an element in the construction routine, affords an array of alternative options unavailable using more traditional production methods. Upon entering this latest stage in the manner that he now approaches his work, great importance has been assigned to extend boundaries beyond normal applications. Searching alternatives solutions contributes to dealing with many of the physical limitation-problems beset an aging sculptor by ole father time. He has chosen a path of self-reliance; working alone in his studio. The objective is to always define the most effective means necessary in moving projects forward.

Pick and Stick, when used effectively can be remarkably versatile as well as easy. At 70 years old, he is capable of producing pieces on the potter’s wheel large enough - that when fired – he is able to climb inside. In fact the only limitations he faces is with the size of the studio work area and the power of the wheel. Coming up with innovative ways to build kilns around particular pots, is the result of avoiding lifting or moving the structures prior to the firing process. Hand building rather than using a wheel appears to offer even a wider range of size capabilities in addition to some highly extreme shape options. In the hand building process of the Pick and Stick method, the particular interest rests primarily with the range and stretch that is allowed by the method. He recently, however, threw unconventionally structured – 40 inches wide by nine inches high closed saucer forms.

Having evolved from a traditional wheel-clay background, Michael later investigated alternative creative routes to perceive and conceive non-traditional wheel-clay works. Resulting from the Pick and Stick method, he regards himself most definitely as a sculptor. He approaches the potter’s wheel with intent to exercise and demonstrate the enormous potential of the method driven toward a sculptural construct. Inevitably, as his wheelwork evolves sculpturally, it turns the corner toward the more abstract. Michael’s focus remains solidly upon the sculptural construct as well as on the many aspects of the hand building process with several hand-building pieces in progress. Enjoyment in working from time-to-time on the wheel – making traditional pots, he admits that gratification arrives as an occasional dance with “the one who brought you.” Currently, on one wheel stands nearly completed a 40 inches wide by 70 inches tall, leather-hard, under the same plastic wrapping that once held a fresh ton of moist clay. The wall thickness of these super-pots measure one half inch but they are a bit thicker at the top and bottom.

“Fifty years of investigating clay has undoubtedly, gathered properties, aspects and certain reactions into a variable if not uncountable duffle of aesthetic philosophic and intellectual interpretation. Every human endeavor regarding artistic or utilitarian uses of clay (ceramics) throughout our development does, if it reveals at least one conclusion, lead to the fact that survival and success of the human species to a greater degree than most are aware, had its roots in much of that effort. Time is an art element to be recognized as part of the artistic process. Time is as serious as elements such as line, space and composition.”

            Our appreciation or more even than that, the human need to have clay close in our lives and in our homes instinctively derives from need. Consider the possibility that without its discovery and development we probably would not even be here. Clay and the human spirit are locked. When we as artisans investigate, we should do so with this awareness, and when we investigate, we should, in the broadest sense, understand the importance of the continuation of our effort.