"Heliagia," one of the mythic figure series. Mixed-media figure of clay, wire armature, with removable ceramic mask. Suede covering with hand beading. 28" tall.

TCR: How did you pursue it?

WE: Pottery classes at the Cleveland Art Institute gave me a fundamental knowledge of clay and glazes; so, with my love of figures, I began creating clay heads, hands and feet. I taught myself how to construct a wire armature, fiber body, etc. Over the years, I've also taken workshops in various leather and beading techniques.

TCR: When did you begin selling your dolls, and through what venues?

WE: I began selling my dolls in the mid-'70s through the ACC shows, as well as through other wholesale and retail craft shows (early Richard Rothbard shows, and Rosen Group shows), first alongside my pottery, then with soft sculpture, then leather.

TCR: What challenges did you face in the beginning?

WE: My principal challenge was breaking into the doll world; my dolls have never fit into the mainstream market, nor was I especially [interested in creating] for that market. Not long after beginning to make the dolls, I changed from human-type heads to animalistic heads with humanoid hands and feet. (I also made dragons, large and small, for about 10 years.) Because I was not making human heads, most doll organizations and doll galleries were not open to my work and still aren't.

Of course the main challenge for all art doll makers is financial. Talk to any non-traditional doll maker in the world and my guess is he/she will affirm that it is extremely difficult to make a "living" strictly as a doll artist. (I am making a distinction between the "traditional" doll world and the "fantasy mixed-media figure" doll world.) There are a number of major doll shows sponsored by doll organizations, which as I understand are well attended and where doll artists of a more traditional approach are well-appreciated. I have investigated these shows, and did participate in one years ago, but quickly saw that my work didn't seem to belong in that sphere. The world of contemporary dolls seems to be broadening now, though, to include an increasingly wider spectrum of art, but traditional still seems the majority approach and market.

TCR: How did you overcome them?

WE: My Star Wanderers have their own unique market, and that market is continuing to expand through my Web site. In whatever sphere I have been in [in graduate school, leather work, figures] ... I have seemed to locate in a small niche of that world. I don't complain about it since it is a definite choice I have made -- it is just me. So my Star Wanderers are no different; they have their own niche. One of the challenges of artists, I believe, is to find a market for their niche. I do think the Internet opens up new possibilities and approaches.

"Bibliode, the librarian" -- riding mixed-media figure with 12 handbound leather books in saddlebags. 26" by 28" by 10".

TCR: Who is the market for your work?

WE: Individuals (about 50/50 male/female) who appreciate fantasy and the sense of life as an adventure to be savored. My customers also seem to enjoy being reminded not to take life or themselves too seriously. I spent a good amount of time at Children's Hospital in Boston, Mass., during the multiple operations one of our daughters needed as a child, and in AIDS wards with my brother and other friends. ... In those situations I came to appreciate the need to keep a perspective on life and the importance of laughter as well as tears. I enjoy seeing the very personal ways in which individuals connect with my Star Wanderers and their positive energy.

TCR: How do you reach them?

WE: My sales are primarily through wholesale and retail craft shows (ACC, Paradise City Arts Festivals, Artrider shows, and others), and now through my Web site: http://www.ellertson.com. My main contacts with new galleries [are made] through the ACC Baltimore and ACC San Francisco shows each year. I always send out a mailing before a show to galleries/shops and previous retail customers. Since I've been in business for over 25 years, stores who don't come to a specific show remember me from past shows, and have my brochures/price list, and tend to call me to order directly. Customers do the same. That is another excellent reason for keeping up mailing lists of both galleries/shops and retail customers.

TCR: How did you first get your work into galleries and specialty shops? In what types of specialty shops do you sell your work?

WE: I gained access to galleries and shops through shows. I sell my figures mainly to craft and fine art galleries, and occasionally to interior decorators. My line of leather accessories for home and office have access to a broader range of galleries and shops -- from those specializing in leather to clothing shops, department stores, etc. During the 10 years I was selling leather clothing and wearable accessories, I worked occasionally through sales reps.

"Olaff and Rado" -- riding mixed-media figure ... clay, wire, wood, Icelandic sheepskin fur, painted leather, beading, illustrated book in leather saddle bag. Leather mask is removable. 30" by 27" by 20".

TCR: How did your work become a part of both solo and group exhibitions all over the country?

WE: Through contacts made at shows (mostly ACC).