Fall 2023

“I have a great appreciation for the natural things in this world,” Chappell says.“Animals are number one. I also love landscape and bird pho- tography. I’m an avid bird watcher and in school I studied reptiles and amphibians. My ceramics work reflects my interest in the animal world. I’m more than a potter, although I make some mugs, but I do more sculpture.” It’s an almost dizzying, while delightful experi- ence to wander through the assortment of kilns, clay, glazes, fountains, plants, necklaces made of leather straps hanging with fossils, shark teeth and semi-precious stones, crackled pots with three-dimensional animal shapes winding around them, large “bamboo” pieces made from ceramic that serve as vases or bases for lamps, masks, sushi platters shaped like fish, shallow bowls with impressions from actual fish, ceramic clocks and sparkling colorful pieces of iridized glass washed over by the music of burbling foun- tains glazed in glossy, tranquil colors. One could easily spend hours exploring the pieces, includ- ing the Impressionistic-like photographs that resemble paintings. Some of the creations are from pieces of left- over tile, or items that Chappell has repurposed into jewelry and bolo ties. “I started jewelry making purely from the fact that I had collected a lot of artifacts I like,” he says. “I thought,‘What am I ever going to do with these things?’ Someone suggested making jewelry and bolo ties and the next thing I know I was drilling holes in pieces and stringing them on leather Beautiful functional art—like fountains— often feature glass to reflect the light with delightful animal designs like sea- horses and frogs; water runs peacefully over glossy finishes. 142 C A R M E L M A G A Z I N E • F A L L 2 0 2 3 Photos: Lisa Husby