This is the final post in a three-part series on Scott McClellan, head of ceramics at the Seattle Artist League. The first post looked at the grounded physicality of his pots; the second, at the structures—musical, material, and cultural—that shape his thinking. Now we turn to the studio he built: how his quiet pragmatism and clear decisions shaped a ceramics program that makes room for difference and stays open to change.
Built from Clay
Scott McClellan earned his BFA in ceramics from Utah State University, then worked as a studio tech at Edinboro University before completing a long-term residency at Taos Clay. He went on to earn an MFA from the University of Missouri, with a minor in sculpture, followed by a two-year wood-fire residency at the Clay Studio of Missoula, where he conducted most of the glaze research that would shape his later work.
McClellan designed and built the ceramics program at the Seattle Artist League, where he now teaches and serves as head of ceramics. His teaching is clear and pragmatic. His professional practices class includes a demonstration where he boxes a pot and throws it across the room—to show the packing works. There is no performance, only proof.
The Studios He Built
McClellan’s work reflects the values at the Seattle Artist League: process over polish, presence over perfection, curiosity over certainty. Like the school he helped shape, his work invites attention, encourages variation, and holds space for uncertainty.
It’s an ethos of attention, adaptation, and making that stays responsive—always adjusting, never formulaic. It leans into friction. It finds structure in process and honesty in imperfection
McClellan doesn’t teach students to throw like he does. He built a space where they can throw how they want—with attention, with edge, without apology. What he shaped at the League isn’t a style. It’s a studio built for staying in motion.
Stay tuned—there’s one more post on the way, marking a major milestone for the League’s ceramics studio and the community it’s grown.
Another collection of favorites from the personal inspiration files of Carlos San Millan. At first glance, this looks like a figurative study with the figure divided into abstracted patches of flat color. For some of the areas, paint has been scraped away, so that the color underneath can be seen through the top layer. San …
One year ago in March, to protect our students and teachers from a new coronavirus, the Seattle Artist League moved our classes online. The virus was declared a national emergency, and we went into quarantine. We have now been in quarantine for thirteen months. Through this year, we have met each other online to draw, …
Art Walk 2nd Friday, Jan 13 6-9pm Art Activity: Japanese Calligraphy Special Guest Star: Kiki MacInnis, Intro to Ink Instructor JOIN US! We have art, and we have beer
I’m currently reading the The Uninhabitable Earth by David Wallace-Wells. I wouldn’t wish the book or the subject on anyone, were it not imperative. In Seattle, the temperature typically varies from 37°F to 79°F, and right now we’re setting unpresidented records for heat, day after day, so it’s seeming especially imperative today. “In Seattle, where …
Scott McClellan: The Studios He Built
This is the final post in a three-part series on Scott McClellan, head of ceramics at the Seattle Artist League. The first post looked at the grounded physicality of his pots; the second, at the structures—musical, material, and cultural—that shape his thinking. Now we turn to the studio he built: how his quiet pragmatism and clear decisions shaped a ceramics program that makes room for difference and stays open to change.
Built from Clay
Scott McClellan earned his BFA in ceramics from Utah State University, then worked as a studio tech at Edinboro University before completing a long-term residency at Taos Clay. He went on to earn an MFA from the University of Missouri, with a minor in sculpture, followed by a two-year wood-fire residency at the Clay Studio of Missoula, where he conducted most of the glaze research that would shape his later work.
McClellan designed and built the ceramics program at the Seattle Artist League, where he now teaches and serves as head of ceramics. His teaching is clear and pragmatic. His professional practices class includes a demonstration where he boxes a pot and throws it across the room—to show the packing works. There is no performance, only proof.
The Studios He Built
McClellan’s work reflects the values at the Seattle Artist League: process over polish, presence over perfection, curiosity over certainty. Like the school he helped shape, his work invites attention, encourages variation, and holds space for uncertainty.
It’s an ethos of attention, adaptation, and making that stays responsive—always adjusting, never formulaic. It leans into friction. It finds structure in process and honesty in imperfection
McClellan doesn’t teach students to throw like he does. He built a space where they can throw how they want—with attention, with edge, without apology. What he shaped at the League isn’t a style. It’s a studio built for staying in motion.
Stay tuned—there’s one more post on the way, marking a major milestone for the League’s ceramics studio and the community it’s grown.
Related Posts
Sterling Shaw
Another collection of favorites from the personal inspiration files of Carlos San Millan. At first glance, this looks like a figurative study with the figure divided into abstracted patches of flat color. For some of the areas, paint has been scraped away, so that the color underneath can be seen through the top layer. San …
Online Anniversary Show; Still Life
One year ago in March, to protect our students and teachers from a new coronavirus, the Seattle Artist League moved our classes online. The virus was declared a national emergency, and we went into quarantine. We have now been in quarantine for thirteen months. Through this year, we have met each other online to draw, …
Kiki MacInnis Art Walk
Art Walk 2nd Friday, Jan 13 6-9pm Art Activity: Japanese Calligraphy Special Guest Star: Kiki MacInnis, Intro to Ink Instructor JOIN US! We have art, and we have beer
16 Ways to Reduce the Carbon Footprint in Your Art Studio
I’m currently reading the The Uninhabitable Earth by David Wallace-Wells. I wouldn’t wish the book or the subject on anyone, were it not imperative. In Seattle, the temperature typically varies from 37°F to 79°F, and right now we’re setting unpresidented records for heat, day after day, so it’s seeming especially imperative today. “In Seattle, where …