Artist Highlight: Ryan McDonald
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Ryan McDonald
Making Waves: Demonstrating Artist
Making Waves is a ceramics-focused series of events that Rain City Clay facilitates at Jellyfish Brewing Company.
This year, Ryan McDonald and Erica Davidson will be demonstrating simultaneously. Come enjoy watching two artists share their clay techniques. The ceramic process is mesmerizing!
Join us! Saturday, June 28th: 2-5pm, 2025
Artist’s Bio:
Ryan Allen McDonald is a Seattle-born ceramic artist, educator, and studio technician who sees clay as a conduit for connection, reflection, and restoration. His work is shaped by the quiet moods and rugged beauty of the Pacific Northwest.
He first touched clay as a young adult and never forgot its grounding power. After years in the trades and community work, he returned to ceramics with a renewed purpose: to create pottery that supports daily rituals of care and celebration.
Ryan serves as the Ceramics Lab Technician at Green River College and continues his personal practice under the name Ambivert Ceramics—a reflection of his belief that introversion and expression coexist within him, to his benefit and delight.
Rooted in faith and curiosity, Ryan’s approach is meditative and intentional. He is especially passionate about helping others find peace, dignity, and self-expression through craft.
Outside the studio, he enjoys walking with his wife and their whippet, Eclipse, writing haiku and senryu, and volunteering in his community.
Get to know Ryan!
What are your inspirations when making work?
My work is inspired by the natural landscape and atmosphere of the Pacific Northwest—the quiet moods, shifting light, and rugged textures that shape the region. Emotionally and spiritually, I’m drawn to the idea of pottery as a companion to daily life—objects that hold space for care, presence, and reflection. I often think about how something as simple as a mug or bowl can become part of a meaningful daily ritual.
How long have you been working with clay?
I first began working with clay between 2006 and 2008, then returned to it in 2017 and have been steadily involved ever since. That break gave me a deeper appreciation for the medium—coming back to clay felt like coming home.
Is there something you’ve wanted to try making that you’ve never made before or haven’t made in a long time?
One form I’ve long been fascinated by but haven’t tried yet is the ongi vessel. I’m drawn to their utility and the challenge of their scale and construction. It’s definitely something I hope to explore in the near future.
What is your favorite part of the clay process?
My favorite part of the clay process is gas kiln firing. It’s a bit funny—growing up, my mom was always concerned about my fascination with fire. Now, handling fire (responsibly, of course) is literally part of how I make a living. There’s something deeply satisfying about the rhythm of loading a kiln, reading the flame, and watching heat, atmosphere, and timing transform the work. It’s a blend of science, intuition, and spirit.
When do you feel most inspired?
I feel most inspired at night, once I’ve completed my responsibilities and spent meaningful time with family and friends. That quiet space allows me to reflect, reset, and tap into deeper creativity. It’s often when ideas flow most naturally.
How do you push through creative blocks?
I’ve found that creative blocks often signal a depletion of energy, not a lack of ability. When that happens, I’ve learned to pause and rest—even when I feel tempted to push through. Allowing myself that recovery time usually restores my momentum and helps me return to the work with clarity and renewed focus.
What advice would you give to Ryan 10 years ago?
I’d tell myself to lighten up and remember that the most valuable things in life aren’t things at all—they’re the people you love and the time you get with them. If taking care of others means being constantly absent, it’s worth finding a different way to show up. I’d also remind myself to be quick to listen, slow to speak, and to give others the same patience and attention I hope to receive. I’m still working on this.
If your work was a musical genre, what would it be?
If my ceramics were a musical genre, they’d be like the kind that features the hang drum—ambient, grounded, and reflective. There’s a quiet rhythm in my process, rooted in function but infused with atmosphere and emotion. Like the hang drum, my work invites people to slow down, connect with the moment, and experience beauty in the everyday. It’s about creating space—for calm, for ritual, for presence.
Do you like to listen to music or podcasts in the studio? If so, do you have a playlist or favorite musician, or show you'd like to share?
I love music and podcasts—both are constant companions in the studio. Like many people, my taste is pretty eclectic, but I’ve always had a steady love for electronic music. Lately, I’ve been listening to artists like LONE, DEFT, BOY2000, and EDEN FM. Their rhythms and textures help me find flow while working with clay.
As for podcasts, one of my favorites is Everything Is Alive. It’s imaginative, weirdly touching, and makes me look at everyday objects a little differently—which feels fitting for a potter.
What is your favorite tool?
The Giffin Grip Mini.
What is your favorite glaze/glaze combo/surface decorating technique/material?
My favorites tend to shift over time, but at Cone 10, I always find myself drawn to shinos. At Cone 6, I really enjoy working with the White Gloss used at Rain and Rat City in the soda kiln. It’s a reliable liner that also looks amazing.
If you had to describe your artistic style using only three words, what would they be, and why?
Grounded – I try to create from a place of stability and intention, with a deep respect for process and material.
Reflective – My work is more than just utilitarian—it’s a way to express meaning, invite stillness, and encourage connection.
Functional – I focus on making pottery that’s meant to be used—coffeeware, beerware, and everyday vessels.
If you could have a clay-making superpower, what would it be?
Absolute control over drying times.