The following are a series of questions posed to Douglas Kenney from May 29, 2008.

• You have been a ceramic artist form many years now, how do you keep your work fresh?
  
  I never do copies of my older work. I take chances trying to make art out of each piece. I am always making new underglaze colors by blending the ones I have with new ones.
  
  
• How has living in Hawaii influenced you?
  
  In Hawaii nature is a powerful force. I live in a blue house, the sky and ocean are vivid. Botanical gardens, bright flowers and palm fronds have made their way into my work some by imprinting and others by interpretation. I have been covering the earthy sculpture clay with white slip. The result is the underglaze designs become more vivid.
  
  
• Can you inform me about some of your techniques, and why you use them?
  
  I fire my ceramics to Orton Cone 5, 2185 F because I found a low shrinkage sculpture clay that works perfect with underglazes for big pieces. The finished work is super durable when complete after a clear glaze firing. On some work I use overglazes and metallic lusters. I fire these to 1400 F close to Orton cone 017. I do this type of firing to add another layer of visual information and light. Most of my art is made from slabs and I make the plates on a potters wheel. Occasionally, I like to throw big vases with white clay on the wheel. It's a great tool once you understand how it works. Most of the color on my art comes from underglazes. I am doing more brushing and splashing of underglazes than spraying these days. I spray some underglazes though, and usually the clear glaze afterwards.
  
  

• You make a tremendous volume of work in your studio, what motivates you to maintain that effort?
  
  I create better work when I am working on many pieces at the same time. In Hawaii we have great light here. I have a lot of windows in the studio. Winning competitions and having museums and galleries show my art are big incentives to keep creating.
  
  
• How do you gain attention for your work?
  
  Because I make large ceramic objects their size alone makes other pieces seem small in comparison. The scale impresses. I create art for large spaces. My ceramic art stands out. It is important to document your art with good photography. I sell many pieces from email images. Articles in ceramic trade magazines and local newspapers give credibility to your work. I have a brochure and print postcards periodically.
  
  
• Where do you see your vision taking you in the future?
  
  I would like to create more of the square plate modular walls like my installation at Nuu'anu Gallery, March 2008 Honolulu. The curved plates with the curved wall had a great visual effect. Then, do a series of (8 ft.) totem poles - some with water features, some that will be lights. Eventually, I want to buy a larger kiln and expand the studio. I'd like to create more 1 meter plates the same size as when I was in Shigaraki 13 years ago.