Gary Dipasquale
During a visit to Alfred University around 1975, I was exposed to clay as an art medium. I saw what other artists were making and the possibilities that the clay presented and I was hooked.  I retuned to my undergraduate studies at the Massachusetts College of Art and switched my major studies from printmaking to clay.
Hand building sculptural wall reliefs was my main interest at that time, I was comfortable manipulating the clay this way and I continued to making art for the walls but now with clay.
I moved to NYC in 1980 and my interest began to shift towards more function oriented work, but always with a decorative and sculptural intention.  I am what you might call a  “dis-functional / functional potter!   I don’t really consider the functional aspect when making my studio pieces. That part just does not interest me. The form, texture and color are more like painting and sculpture which interest me more than creating functional ceramics.  
There are many periods of art that influence my work like art Deco, cubism and Chinese ceramics. I also love the glazes and forms of George Ohrr, the fluid and painterly brushstrokes of Betty Woodman’s large vessels. I go to the Metropolitan Museum often and look at the vast selection of painting, sculpture and ceramics from all over the world. I love nature and I am fortunate to have a small garden here in NYC. The natural patterns, textures and colors in  nature give me much pleasure and inspire me in many ways.
When I begin working I start with sketches, I then make paper templates for tracing onto large slabs of rolled out clay, gradually working with all the sections like a puzzle I manipulate  the slabs into shapes and forms which I stack up together.  When deciding on patterns and glazing. I get hints or suggestions of colors and textures from my many test tiles and experiments I do with layering glazes. I sometimes draw on the bisque piece first to see what patterns or designs to use.  I like working in a series to create groups that will display well together.
Living in NYC and having this studio has played a very big part in my development and career as a clay artist. I have had my studio since 1980 it has allowed me to work steadily ever since then.