Displayed outdoors, Disc Sculpture measures 46" x 41" x 13". It was wood-fired in an anagama kiln.

In 1988, he stopped teaching, became a full-time artist and moved to Arizona—an experience he says felt like “going home to a place I should be. It just felt comfortable.”

Throughout his career, Reitz has maintained a physical, hands-on approach to ceramics. He often builds his kilns—he currently uses eight of his own design—and prefers to work outside the parameters of a traditional studio. For example, he crafted many of his sculptures in a barn while living in Wisconsin, and today he has most of his kilns scattered around his 17-acre Arizona ranch. His works often have hand-scraped surfaces that display texturing and abstract markings.
 
Colors are achieved through the firing process. Adding salt to the kiln produces a glassy finish, while such elements as wash-es, glazes and dry oxides applied to the clay prior to firing result in a range of hues. Temperature and the amount of oxygen in the kiln also affect the final appearance of a salt-glazed ceramic.
 
During wood-firing, Reitz employs various types of wood, including oak, pine, hickory and elm, to attain certain looks. Each type of wood burns at a different rate, consists of varying materials, and produces and deposits ash that melts on the clay in assorted ways. These components factor into the colors that appear on a piece and result in a style akin to Abstract Expressionism, relates Reitz. “Clay is physical,” he comments. “It’s a performance piece.”

Teastack With Bricks, 24" x 51" x 10", anagama wood-fired

Agnese Udinotti, owner of Udinotti Gallery in Scottsdale, which represents the artist, says that the energy of Reitz’s pieces, along with his charisma, first attracted her to his ceramics. “I see Don’s organic shapes and earthy coloration in direct connection to his inner self rather than the locality of his residence, i.e., the Southwest, even though I know of his almost sacred connection with the land,” she says.
 
Leatrice S. Eagle of Potomac, Maryland, who has been collecting Reitz’s work since the 1970s, is similarly taken with the artist’s lively personality and his “overwhelming knowledge” of the craft. Eagle states that Reitz’s salt-glazing techniques and his ability to build and fire every type of kiln are unmatched. “He is a master in everything that he creates. He continues to strive for something better and never thinks he has accomplished the best.”

Mark Leach, Executive Director of the Southeastern Center for Contemporary Art in Winston-Salem, North Carolina, has worked on several of Reitz’s exhibits and collaborated with the artist on ceramic works. He calls Reitz a “great master.” Leach explains: “He’s always the kind of person who is pushing the envelope.” He also praises the ceramist’s generous spirit, noting his desire to share his knowledge and experiences with others.