Artist: Sam Scott

Sam Scott, WASHINGTON
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Bio
Sam was born in Seattle and began working with clay at High School in 1968. He attended the University of Washington to work with Robert Sperry, Patti Warashina and Howard Kottler. Receiving his BFA in 1975, He proceeded to set up his studio in the Seattle area. Over the years Sam taught at the University of Washington and Shoreline Community College.

His work has been shown in important national and international exhibitions, and has won various awards. His work has been published in Books and magazines, including; Ceramics Monthly. His work is also included in corporate and public permanent collections. Selected awards include: The Zanesville Prize, Finalist, Ohio (2014); 22nd Annual Strictly Functional Pottery National, Purchase Award, Pennsylvania (2014); 

In 2012 Linda Ganstrom, NCECA curator, wrote “Sam Scott is known for his elegantly crafted vessels and socially engaged content”.

 

Artist Statement

I have been a ceramic artist in Seattle since 1968 and have worked predominately in porcelain on the potter’s wheel. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract brushwork in
blues, browns and grays. I also utilize the contrast of the white porcelain surface with a black matte glaze. 

The development of this glaze has allowed me to employ new forms of decoration on the clay surface, juxtaposing biomorphic poured shapes in contrast to the dense white porcelain. These drips create a graphic tension that is enhanced by orienting the directional flow of the glaze from both rim and foot of the piece. The shape of the pot informs the pouring process creating overlapping patterns which integrate the form, surface, and decoration, unifying the overall design.

More recently I have been exploring my interest in science and technology and their impact on society, in a series of plates. Impressions of various objects are made in the soft clay, becoming contemporary fossils. The contents of each plate are meant to “serve up” commentaries or provoke observations of the ideas, decisions, and developments that impact our actions and leave an “impression” on our society. My goal is to blend technique and intuition in both form and surface treatment, while working in the vessel format.

Biography
I was born and raised in Seattle, WA and began working with clay at High School in 1968. I went to the University of Washington to work with Robert Sperry, Patti Warashina and Howard Kottler. Receiving my BFA in 1975, I proceeded to set up my studio in the Seattle area. Over the years I’ve taught at the University of Washington and Everett Community College and have given numerous workshops. I currently teach at Shoreline Community College. 

My work has been shown in important national and international exhibitions, and has won various awards. A few of the exhibitions include: NCECA Invitational 2012, Seattle, WA; NCECA Invitational 2010, Philadelphia, Pennsylvania; Objects of Virtue 2009, Walnut Creek, California; Craft Forms 2008, Wayne, Pennsylvania; 2007 Biennial Exhibition of North American Functional Clay, Guilford, Connecticut; 2007 NCECA Clay National Biennial Exhibition, Louisville, Kentucky; 14th Annual Strictly Functional Pottery National 2006, Lancaster, Pennsylvania; and Looking Forward Glancing Back, Bellevue Arts Museum, Bellevue, Washington.

I have had work published in magazines including Ceramics Monthly, Pottery Making Illustrated and Clay Times. And I am mentioned or my work is included in various books, such as: American iPottery by Kevin Hluch, Glazing Techniques by the American Ceramic Society, Robert Sperry Bright Abyss by Matthew Kangas, Making Marks by Robin Hopper, China Paint and Over Glaze by Paul Lewing, 500 Cups: Ceramic Exploration of Utility and Grace (Lark Books), 500 Pitchers: Contemporary Expressions of a Classic Form (Lark Books), 500 Plates and Chargers (Lark Books) and The Best of 500 Ceramics (Lark Books).

I’ve also written several articles, two were published in Pottery Making Illustrated in 2012 and Porcelain Artist Magazine in 2011. In 2015 I wrote a Chapter in the book Glazing Techniques In 2012 I wrote a chapter for the book Surface, Glaze and Form (The American Ceramic Society) edited by Anderson Turner.

My work is also included in corporate and public permanent collections. These include: Virginia Mason Medical Center permanent Art Collection; The International Museum of Contemporary Ceramics, Buenos Aires, Argentina; The Dee Roy and Mary M. Jones Permanent Collection at Cal Poly, Pomona, California; The American Museum of Ceramic Art, Pomona, California; The Nidec-Shimpo Tradition of Excellence Corporate Collection, Itasca, Illinois; The Harborview Northwest Collection of Contemporary Ceramic Art, Seattle, Washington; and The Edmonds Collection to Hekinan, Hekinan, Japan. Selected awards include: The Zanesville Prize, Finalist, Ohio (2014); 22nd Annual Strictly Functional Pottery National, Purchase Award, Pensylvania (2014); “Arts of the Terrace” 1st Place 3d, WA. (2012); “Arts of the Terrace” 3rd Place 3D, WA (2012); “Arts of the Terrace” 2nd Place 3D, WA (2011); Shoreline Art Festival,1st Place 3D,WA (2011); 18th Strictly Functional Pottery National, Purchase Award by L&L Kilns, Pennsylvania (2010); Objects of Virtue Guild Award, California (2009); 4th International Biennial of Contemporary Ceramics Special Jury Award, Buenos Aires (2009); Ink and Clay 35 Honorable Mention, California (2009); Clay on the Wall First Place, Texas(2007); 2007 Vasefinder Nationals, First Place, Nevada (2007); and 14th Strictly Functional Pottery National Founders Award, Pennsylvania (2006). In 2012 Linda Ganstrom, NCECA curator, wrote “Sam Scott is known for his elegantly crafted vessels and socially engaged content”.

 

Potter / Instructor:

I have been a ceramic artist in Seattle since 1968 and have worked predominately in porcelain on the potter’s wheel. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract brushwork in blues, browns and grays.

I also utilize the contrast of the white porcelain surface with a black matte glaze. The development of this glaze has allowed me to employ new forms of decoration on the clay surface, juxtaposing biomorphic poured shapes in contrast to the dense white porcelain. These drips create a graphic tension that is enhanced by orienting the directional flow of the  glaze from both rim and foot of the piece. The shape of the pot informs the pouring process creating overlapping patterns which integrate the form, surface, and decoration, unifying the overall design.

More recently I have been exploring my interest in science and technology and their impact on society, in a series of plates. Impressions of various objects are made in the soft clay, becoming contemporary fossils. The contents of each plate are meant to “serve up” commentaries or provoke observations of the ideas, decisions, and developments that impact our actions and leave an “impression” on our society. My goal is to blend technique and intuition in both form and surface treatment while working in the vessel format.