About the Program
The Clay Studio Resident Artist Program offers individuals the opportunity to further develop their work, to establish professional contacts and standards, and to work within a community of like-minded individuals in an urban environment for up to five years. One of the longest ceramic residencies in the world, The Clay Studio Resident Artist Program allows artists to become successful members of The Clay Studio community, and the Philadelphia art community, while making national and international connections as well.
A residency at The Clay Studio includes:
- Personal studio space (approximately 185-195 sq. ft.)
- Use of four electric and two gas kilns (specs available upon request)
- A full stocked glaze mixing area
- Teaching opportunities
- One solo exhibition sometime after the artist has been in residence for at least two years
- Group exhibition opportunities
- Grant writing support from our development staff
- Professional support from the curator and other staff
2021 Guest Juror: TBD
Fellowships and Funding
There are currently two Fellowship positions for incoming Residents, The Zeldin Fellowship and the Windgate Fellowship. Each offers a $500/month stipend for the first year of the Residency and a solo exhibition after the end of the Fellowship year.
Currently the Resident rent is $175/month, subsidized by a generous grant from the Windgate Foundation and the National Endowment for the Arts. This and other grants determine the annual rent rate, however, Resident rent will not exceed $250/month; this amount is lower than market rate but will consistently be subsidized by The Clay Studio.
The studio rentals are on a year-to-year basis. A $250 refundable security deposit and a yearly Clay Studio membership fee of $60 are also required upon entry into the program. Resident Artists have access to a glaze mixing room and kilns, and pay for the glaze materials they use and firings based on individual usage. Residents share common housekeeping work and are occasionally asked to contribute volunteer time to The Clay Studio for special events.
Application Deadline Extended
Applications are now due March 10, 2021
How to Apply
DEADLINE TO MARCH 10, 2021
A complete application must include the following:
- Personal contact information
- Artist statement
- A personal statement telling us why you are applying to The Clay Studio, how it will benefit you, and what you feel you have to contribute to The Clay Studio community
- Ten digital images
- A corresponding image list that includes the following: image number, title, medium, size, and date
- Three references
- Application fee
The current Resident Artists, Jennifer Zwilling the Curator of Artistic Programs, and Linda Lopez, our distinguished guest juror for 2020 will review and rank applicants. The Curator of Artistic Programs will then interview a small group of applicants based on the initial ranking. Curator Jennifer Zwilling will conduct interviews by phone, at The Clay Studio, or at NCECA. Spaces in the program are made available as current residents reach their five year term limit or leave the program before their term is up. The number of spots available is not known until the time of application review. All interested individuals are strongly encouraged to visit The Clay Studio prior to applying.
Subject line: Resident Artist Application
Notification will be made via email.
- All applicants will be notified by mid-April.
- New Residents begin on September 1 each year.
- Accepted applicants will have one week after notification to accept and sign the Resident Agreement Form.
I make pottery because I love the process of its creation. I pay close attention during each part of the process in an effort to make pots that are thoughtfully considered. My work is designed for everyday use and is inspired by folk pottery traditions across the world. German, Korean, early American pots all have a wonderful energy that I try to capture in my work.
I build bridges. I build bridges between the masculine and feminine, between East and West, between decorative and functional, and between the eternal and the ephemeral. The bridges I build are suspension bridges. They suspend (often in the air) decay, ambiguity, and sensuality—the taut, fibrous stings of emotional labor that welcome the viewer across the chasm from one side to the other. Through colors and glaze, I explore luxury and decadence with surfaces that crystallize, facet, fragment, stylize, sharpen, distort, blur and cause noise.