Makers & Mentors: Shelley Sloan Ellis

For the record, 5’ tall 22” wide and 12” deep

For nearly two decades, I have worked at the intersection of education and creation, guiding others in the transformative practice of ceramics while continually evolving my own voice as an artist. My work is rooted in the act of reclaiming—of gathering the overlooked, the discarded, the left behind. Forgotten scraps of clay that accumulate in the studio become my primary material, a metaphor for the parts of ourselves society often deems expendable. From these remnants, I shape abstract and figural forms that reflect resilience, reclamation, and the complexities of identity.

My creative process is deeply intuitive and responsive. Each piece begins with what remains—demonstration pots and parts—bits of clay too irregular for conventional use—unwanted pots from student wheel throwing exercises—abandoned project parts—shaped by hand, erected with thick buttery slip, without premeditated design. These methods speak to my core belief: beauty and meaning can be born from what we dismiss. But perhaps more importantly, this practice becomes a powerful teaching tool—showing my students that meaningful, expressive work does not require the finest materials or the latest tools. Instead, they discover how to find beauty, potential, and personal voice in what already exists. In doing so, they cultivate not only creativity, but also adaptability and resourcefulness—skills that extend far beyond the studio.

As a woman, a teacher, and an artist, I use clay not just as a medium but as a language—one that speaks to the constraints and expectations that have long shaped women’s bodies, identities, and roles. My work asks viewers to confront the invisible weight of these limitations, while also inviting them to see strength in vulnerability and power in imperfection. Through my work, I challenge the ideals of perfection and conformity, especially those imposed on the female body and experience. The figures that emerge are often exaggerated, distorted, or fragmented, mirroring the ways in which traditional gender roles can fracture our sense of self.

I extend this ethos by incorporating outdated technology—shown here using vinyl records. These objects, once at the forefront of culture, now serve as artifacts of obsolescence and nostalgia. By embedding or altering them, I draw parallels between the devaluation of physical media and the ways society marginalizes certain bodies, voices, and histories—particularly those of women.

At its core, my practice is about transformation—shifting how we see materials, ourselves, and each other. By working with what is often overlooked or discarded, I seek to elevate the unseen, the uncelebrated, and to propose a broader, more inclusive understanding of identity, value, and belonging. Teaching this approach is more essential than the work itself; it empowers students to challenge assumptions about worth—both in materials and in themselves—and encourages them to embrace imperfection, experimentation, and authenticity as vital parts of the creative process.

Shelley Sloan Ellis

Ceramics & Fine Art, M.F.A

Visual Arts Teacher specializing in ceramics

Parkwood High School

Monroe, NC