One group, who uses the studio, is the Seward Ceramics Group.  We have about 20 members, who have achieved a relative competency in using the equipment that we have here and who have a longer term commitment to the studio. Many of these members have been students before they apply for membership.  Resident Artists are encouraged to broaden their skills by sharing knowledge and techniques with one another, and participating in our classes and workshops at 50% of the normal tuition.

The application process is fairly painless.  First, the artist requests an application.  Second, the applicant schedules an appointment with the Executive Director of the Studio, to discuss their work and their needs. The artist should bring along examples of their work or slides of previous work.  If the Director sees potential in the relationship, he/she passes along the application to the co-operative, and there will be another short interview to discuss the policies of the studio, and the opportunities available.  If everyone is amenable, the initial 3 month period of membership begins.

Fees for this membership are $120/month, which gives the artist unlimited access to the studio, use of all the equipment, and moderate use of the materials in the studio.  It also includes certain responsibilities in the studio, which are discussed during the interview.  After 3 months, both the new member and the representatives from the group review the experience, and decide whether or not to continue.  The SCG is a very fun group of people who welcome new members.  We welcome your application or any enquiries.
Rabih Aboujaoudé

Rabih AbouJaoudé makes faces. Digital faces. Faces on the bus. Pencil on paper faces. Pen and ink faces. Ceramic faces. Faces in the mirror.

Rabih studied printmaking and music theory at Walla Walla College where he was drawn to sculpture in clay and studied with Tom Emerson. His career took him into computer graphics and he worked in the game industry for 16 years, making faces there, as well—sometimes a non-square pixel at a time. An association with Garrison Coverdale rekindled Rabih’s love for sculpture and he was encouraged to make more clay faces. That led to classes with Tip Toland and a long relationship with Seward Park Clay Studio. He has been making faces as a resident artist since 2011.


Vida Collery

Vida Collery received a BFA in ceramics from the Kansas City Art Institute in 1972 and has been happily making art ever since. In 1976, she moved to Seattle and began exploring different opportunities to make art in the Pacific Northwest. Vida studied at the Factory for Visual Arts and Pratt before returning to the University of Washington in 1994 for her second BFA in Printmaking and Painting. Additionally, Vida is a creative and talented chef and with her husband owns and operates “In Celebration Catering”. Vida teaches cooking classes locally where she inspires others with her love for making memorable, delicious and beautiful meals.

Vida joined Seward Park Clay Studio as a resident artist and her primary interests have been low-fire functional and sculptural ceramics, for the table. Creating the perfect serving piece is one expression in Vida’s ceramic work. Hand built- frequently elaborately painted, often with a lively sense of the humor or just plain rustic functionality.

Website:  www.vidacollery.com

For more information you can reach her at vidacollery@comcast.net.


Liz Garrett

For over 20 years I have made pots in fits and starts, usually when I found myself in a period of transition. Making pottery is a meditative activity for me. It's a chance to think in a different way and is a peaceful calming balance to my professional life.  In the early-90's I joined Seward Park Clay Studio and later built a small studio behind my house. I primarily make functional pottery that is useful in daily life.

See more of Liz's work here.

Joel Gibson

Joel Gibson has been actively involved with clay since 1996, and shows and sells his work nationally.  Working initially on the wheel, his classically inspired forms are sometimes altered by hand afterwards.   While always producing high-fire ware, Raku is Joel's primary firing method. A traditional Japanese firing technique, Raku includes removing the glowing-hot ware from the kiln and plunging it into a combustible material actively affecting the glaze and clay qualities.

More of Joel's work can be seen at www.gonepotting.com.

Josephine Harris

For me, creativity happens in a hidden world beyond my conscious control, where I lose track of the passage of time. At these moments, the mind ceases its babble, and I merge with my work. This is the moment I perpetually seek, the very reason that I love to make pots. Clay is the medium through which I am centered and alive. I strive to make beautiful and useful objects, where the joy of the maker is passed on to the user of my work. I believe that objects made by the human hand have a magnetism that no machine made piece can duplicate.


Kathleen Learned

Kathleen fell in love with clay in her twenties but a 30-year law career intervened. Studying at Seward Park in Seattle and Anderson Ranch in Colorado, kept that love alive and she now is making the transition from left to right brain perceptions. The lines and colors of the natural world and how the human form is part of nature inspires her aesthetic. She does both functional and sculptural work as well as combinations of the two.

June Lindsey

Throughout my career of working in clay what has remained constant is an emphasis on earth related forms and subjects: rocks, eggs, fruits, gourds, females and voluptuous round shapes.  I use the texture of rough or jagged clay, stamped or carved designs as the decoration and tint with oxides for minimal color and accent to let the clay itself show through.

Although I began making my ceramic career making functional pottery on the wheel, I now exclusively hand build. I am intrigued with asymmetry and the infinite variety of shapes that coil, slab, carving and pounding can produce.  Most of my work is high fired to cone 10 in a gas kiln.  Occasionally I do raku, saggar, pit firing and low fire oxidation for special effects.

The artistic cultures of many Native Americans have always interested me. Images and designs found in Mayan carvings, Incan architecture, petroglyphs of both the Northwest and Southwest, Northwest Indian carved iconography plus all of their ruins and remnants are the source of my ideas.
Most of my current work is inspired by the artifacts, pottery techniques and vessel shapes of the Indians of the Four Corners. My fascination with the ruins and petroglyphs of the Anasazi led to research and to classes with Pueblo potters.  In my pieces, I attempt to evoke a feeling of cliffs, rocks and deserts of the Southwest while incorporating designs based on ancient drawings.  My intention is not to duplicate the art of any culture, but to be influenced by it and to add my aesthetic to that history.
(206) 232-8889


Eric Newman

Eric has been actively involved with Seward Park Clay Studio since 1991, first as a student, then as a resident artist and later as a member of the Board of Directors. 

Eric grew up in North Carolina and in Utah, and attended college in Rhode Island where he earned a degree in City Planning, but his true love was for art and acting and he has been making pots and acting ever since.  His mother was a potter and taught his how to throw clay in junior high school.  She is responsible for instilling Eric's sense of form that characterizes much of his pottery.
Eric primarily makes beautiful functional pots as well as sculptural forms. These are assemblages of geometric shapes playing with perceptions of balance and gravity.
Eric has exhibited his platters at a number of local restaurants and has had work in several group shows.  His work can be found locally at SPCS and Stagecraft, the ACT Theatre gift shop.
You may contact him at cynosure_arts@hotmail.com.


Elizabeth O'Boyle

Liz O'Boyle grew up in the Chicago area and came out to the Pacific Northwest to attend the University of Washington in 1977. While at the UW, I had the privilege of studying ceramics under the instruction of Robert Sperry and Patti Warashina.  In addition to my BFA in Ceramics I also obtained a teaching certificate. I have been a teacher for over 25 years and am currently teaching high school art. I have been an artist member with Seward Park Clay Studio since the mid 1980's, witnessing the growth of this wonderful studio, through its many changes, to what it is today.

If interested, you can contact me at lizzyob@hotmail.com

Arthur Pasette

After taking a pottery class in high school in Los Angeles and one class from Susan Peterson at U.S.C. my pottery making skills lay dormant while I pursued a medical career.  I began taking pottery classes again at Seward Park Clay Studio and started to seriously pursue clay after retiring 10 years ago.  I make largely functional high fired hand built stoneware pieces usually fired with one or two shino glazes which gives my work a rustic and not always predictable look that I value in works of clay.  I have served on the board of SPCS and as President for the last 6 years.  I am very interested in promoting the clay arts in the Puget Sound area.

More of Art's work can be seen here.

You can contact Art at apasette@comcast.net.

Gretchen Siegrist

Gretchen Siegrist has a degree in Environmental Science from the Evergreen State College and is an avid gardener.  Her botanical forms are inspired by an appreciation of the rough and complex textures of the natural world.  Leaves, tendrils, birds and bark are part of her visual vocabulary.

Gretchen's handbuilt work is appropriate to garden use.  Her outdoor pieces include Bird Baths and Fence Post Finials.  Her indoor pieces include fanciful Platters, Vases, and Cups.

Gretchen has been involved with Seward Park Clay Studio for several years in various capacities - as a student, a resident artist, and board member.

You can email her at gretchen @ lambert-siegrist.com

Mark Strom

While studying visual arts and art history in college I took an elective course in ceramics. From that point on, pottery became the focus of my artistic expression. I find that the shaping of a bit of earth into forms that become cherished instruments of daily life both fundamental and satisfying. The traditions of working clay, from ancient to contemporary, thrill and fuel my imagination. As a creator of functional objects, I see myself as part of that continuing tradition spanning thousands of years.


We look forward to seeing you in a class or workshop soon!

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