Alumni feature: Adrienne Dellinger

Clayworks, Charlotte, N.C.

We visited recently with alum Adrienne Dellinger, who received a BFA in Ceramics in 1994 and is the executive director of the nonprofit Clayworks in Charlotte, where Dellinger started as a volunteer right after graduation. Clayworks is a community of artists who participate in ceramics education and the advancement of art, artists, and the community. They offer classes to all, rent studio space to 27 local artists, and participate in extensive community outreach.

This was her conversation with Associate Dean Seo Eo:

S.E. — If you were introducing Clayworks to someone, what would your elevator pitch be?

A.D. — ClayWorks is a community of artists dedicated to ceramic education and the advancement of art, artists, and the community we serve. Beyond what you see when you walk in, we’re deeply engaged in community outreach. We have two vans that travel into the community to work with underprivileged children, seniors in nutrition programs, and inclusive abilities classes for individuals with cognitive or severe disabilities. We also rent studio space to 27 local artists and offer classes for youth, teens, and adults. 

S.E. — How does clay as a medium, along with that community engagement, enrich people’s lives?

A.D. — In such a highly technical society, clay is important because it connects us back to the earth. At Clayworks, our philosophy isn’t about the end product—it’s about the journey. Creativity and the act of making are what matter most. Pots are like people: none are perfect. Clay is tactile, grounding, and creates a personal connection through the process of becoming. 

S.E. — What did you like most about your time at ECU?

A.D. — The community. The friendships and connections we made were truly special. Many of us are still in touch today. I also loved the walkability of ECU—I could go weeks without driving because everything was within reach, from the studio to the grocery store. And the collaborative environment across different mediums— ceramics, painting, sculpture, metals — was amazing. Having all of that housed in Jenkins Fine Arts Center was really unique. 

S.E. — That building really defined the School of Art and Design’s identity. When you were there, it would have been about 20–25 years old.

A.D. — Yes, though it had already gone through some renovations. It’s an interesting building. 

S.E. — Which professors do you remember most from ECU?

A.D. — Chuck Chamberlain, of course. But also Dick Spiller, who was wonderful — he’s now in Michigan or Wisconsin. In ceramics, I also had Art Haney, who was fantastic. Paul Hartley was great. Elmore taught me drawing — an excellent teacher. In textiles, Janet Fisher and Sarah Edmiston were inspiring. I actually took so many fiber classes that they eventually asked me to choose between clay and weaving! I still have a loom and enjoy it, though I knew weaving wasn’t going to be my career. 

And then, of course, we had incredible faculty in other areas — Bob Ebendorf, Linda Darty, Don Sexauer in printmaking, and Norman Keller. It was really a magical experience to study under all of them. 

S.E. — Earlier you mentioned starting at Clayworks as a volunteer. Could you talk about how you have reinvented organization during your time there?

A.D. — Clayworks began under Spirit Square, an arts organization in Charlotte. When Spirit Square closed, we were absorbed by the McCall Center for Visual Art, and I became studio manager. After seven years, McCall decided Clayworks no longer fit their mission and planned to close us down. 

We were told if we raised $35,000, we could try to transition to an independent nonprofit. In just two weeks, the artists and community raised $38,000. That led us to form a founding board, write bylaws, hire an attorney, and file for 501(c)(3) status. By 2005, we launched as an independent nonprofit. It was the best decision we ever made. 

Now, 20 years later, we will have owned our own 10,000-square-foot studio space, plus a 5,000-square-foot gallery building in 2030. We’ve grown from me as the sole part-time employee to a staff of seven, plus 20 instructors. Today, we support 27 resident artists and run both on-site and off-site programs. 

S.E. — That’s an incredible transformation. In many ways, it’s a model for how grassroots organizations can become cultural landmarks.

A.D. — Exactly. It’s been full of challenges, but also great successes. Being able to employ artists and support them in the medium they love is deeply meaningful. 

S.E. — What advice would you give to two groups: students just starting at ECU, and graduates heading into the world?

A.D. — For new students — get involved. Volunteer, join clubs, connect with your peers and your community. That involvement shapes your experience and gives you a voice to create change. 

For graduates — be open to opportunities, even if they’re not what you envisioned. Volunteer, network, and don’t be afraid to try new things. Every experience builds toward something bigger. My own journey at Clayworks began with volunteering. 

S.E. — That’s wonderful advice. Any final thoughts?

A.D. — Just that community and connection—whether through clay, ECU, or volunteerism—are what carry you forward. That’s been the heart of my journey.