Raised in Cambridge, Wisconsin, Amanda received her BFA from the University of Wisconsin – Whitewater (2003) and her MFA from the University of Missouri – Columbia (2007). Amanda has shown her work throughout the United States and has earned a number of awards, including being named a National Council Emerging Artist (2010), a recipient of an Oregon Arts Council grant in (2013, 2016, 2017), Ford Family Foundation Grant (2016, 2017) and a Washington State Artist Trust Grant (2018).
Amanda has spent time working at Anderson Ranch Art Center in Snowmass Village, Colorado (2007), University of Arkansas (2007 – 2011), Oregon College of Art and Craft in Portland, Oregon (2011), The Archie Bray Foundation for the Ceramics Arts in Helena, Montana (2012), Watershed Center for the Ceramic Arts in New Castle, Maine (2014), the University of Washington (2015, 2018), Oregon State University in the Microbiology Department (2016-17), Tainan National University of the Arts in Taiwan (2017), Ash Street Project in Portland, Oregon (2018), The Reykjavik School of Visual Arts (2019), and Pottery Northwest (2017-2019). She is currently a studio artist in Seattle, Washington.
Amanda Salov was born and raised in Cambridge, Wisconsin, a rural town known for its pottery. She attended college in Whitewater, Wisconsin, to be close to her grandpa. He was the one who taught her to see in spite of the fact that he was mostly blind.
After starting college, her grandfather died and she found her mentor in the ceramics studio. In graduate school, the ideas driving her work began to focus on the fragility and transitory nature of human existence. Her installations and sculptures adopted a language utilizing translucent porcelain, sugar, fat, and beeswax.
In 2011, after several years of teaching, she left for the West Coast. She has developed a strong independent studio practice fully engrossed and influenced by the water, mountains, and mist of the Pacific Northwest.
Most recently Amanda has developed a line of ceramic jewelry that utilizes the ideas and aesthetics of her sculptures. These serve both to lead the sculptural work and to follow on a much smaller immediate scale.