The Seattle Prize Welcomes Its First Resident Artists

In the heart of Seattle’s historic Pioneer Square neighborhood, artists from around the world are quietly converging in a space that was once home to Davidson Galleries. The building itself is stately, standing tall among the brick-and-mortar facades that line Occidental Square.

I arrive just after 2 p.m. and cross the rough brick paving that transforms the area between South Jackson and South Main Street into a tree-lined park. In just a few hours, Pioneer Square’s First Thursday Art Walk will be in full swing here, with crowds of residents and visitors flocking to the area for the love of art. But now, except for a small group of tourists descending the stairwell outside 311 Occidental— my ultimate destination—the square is nearly empty.

By the time I cross the square to the front door, the excited voices have drifted off, as the group has entered the nether regions of Seattle for the underground tour. I glance up at the gold lettering that spells out “Occidental Fine Arts Center’ before swinging back the heavy door to ascend the stairs. When I arrive on the third floor, I take in the afternoon light streaming through the windows and bouncing off the polished floors and exposed brick walls. It’s how I imagine the building might have looked when it opened in 1906—if not for the faint smoky scent that has me craving scotch. It’s a gentle reminder of the fire that raged through the building early last year.

I’m in awe.

Over the next hour, local artist, art instructor, and Seattle Prize artistic facilitator Tenaya Sims takes me on a tour of the facility, filling me in on what’s to come when the Seattle Prize opens its doors to a handful of artists in September.

The Seattle Prize is a next-level atelier-style fellowship created and fully funded by local philanthropist Andrew Conru. The word atelier describes places where artists and artisans work and live together under the supervision of a master artist. The concept echoes the European systems that fueled art from the Renaissance through the Enlightenment, a startlingly long run that spanned between the 14th and 19th centuries. Over the course of centuries and across various countries, the nature of the atelier evolved and adapted, but its key principles remained. It has produced some of the most famous classical painters: Michelangelo, Leonardo da Vinci, and Raphael are, of course, the first who spring to mind. Yet thousands more became celebrated artists through this classic training style.

In this system, artists would immerse themselves for decades, studying how light and shadows play across human form and toiling to copy the works of the master artists who trained them. A Renaissance painter’s studio was a thrilling world. It was a gathering place that demanded intense training and devotion from apprentices at every level until they proved themselves competent to become independent journeymen—or, in some cases, talented enough to become masters in their own right.

In recent years, there has been a resurgence of interest in emulating the atelier style of immersive, extended training for artists who strive to become masters of their craft. This has sparked a new appreciation for focused learning and relentless hard work, resulting in the expansion of intensive programs designed for artists to pursue mastery in painting, drawing, and sculpting.

Today, there are hundreds of atelier programs clustered in major cities. Notably, Seattle has become home to a vibrant figurative art community, spearheaded by artists such as Juliette Aristides and Gary Faigin, as well as the suite of ateliers and programs offered at Gage Academy of Art.

As Sims explains, “With so much talent and so many highly skilled artists emerging from ateliers, why are there still so few opportunities and so little institutional structure to build on that foundation? Where is the bridge between student and professional, or the support for mid-career and advanced artists looking to take their work to the next level? Most atelier graduates need to find unrelated work, squeezing in their practice whenever possible. Galleries offer critical opportunities, but they inevitably encourage work scaled for home interiors—very different from the large public commissions of the Renaissance, meant to be experienced on a civic stage.”

The Seattle Prize is a direct response to this gap. It pioneers a high level of support for exceptional artists to build upon the strong foundation they have acquired at prestigious art programs around the world, while continuing to develop their unique perspective. Each fellow will receive financial compensation from the Conru Art Foundation for the year, as well as studio and living spaces in the Pioneer Square building. This will allow them to immerse themselves in their work, unencumbered by the need to create art they must sell to survive. The living arrangement enables them to share their skills and insights, furthering their creative journeys with our city as a backdrop to their endeavors. It is a rare opportunity to continue education alongside their peers, while focusing their energy on creating a new body of work.

We spoke to the five fellows who are poised to challenge themselves as few artists are ever able to do. We hope you’ll join us in welcoming them to Seattle.

Diego Glazer

RELOCATING FROM: Denver, Colorado. The hardest part of relocating to Seattle has been leaving my local community behind. In Denver, I am a part of an extraordinary network of artists, including some of the finest painters in the country, and many colleagues who have become like family. I am captivated by daily life, by the people and the stories of those I meet on my journey—the struggles, the small, almost mundane moments that make up so much of life, of love; the connections and bonds we share with others.

BIOGRAPHY: I’ve been a professional artist for roughly ten years. As an artist, I explore the infinite possibilities that oil painting offers. I seek to create tangible, albeit ambiguous, atmospheres tinged with emotion.I began my career as an artist in Santiago de Querétaro in central Mexico, then went on to study a degree in visual arts in San Miguel de Allende, Mexico. In 2014, I moved to Florence, Italy, where I completed the three-year drawing and painting program at the Angel Academy of Art. Prior to relocating to Seattle, I studied under Daniel Sprick.

SEATTLE PRIZE: This opportunity is a chance to create the most ambitious work of my career—work that stays true to my vision, free from the lingering worry that its time-intensive nature might make it too expensive to sell. Working alongside artists operating at a similar level will push me to sharpen both the intention and execution of my work. During my time in Seattle, I aim to create pieces that invite more than a passing glance, offering layers of meaning to draw viewers back again and again. I look forward to learning from fellow artists and contributing to their growth, and I hope they can learn from me, enriching our shared experience.

IN SEATTLE: Travel has been a vital part of my artistic journey from the beginning. It is essential for me to feel at home in Seattle. A sense of comfort and belonging creates the foundation for my best work; without it, the process of creating and fully expressing my ideas would be constrained. I take pride in creating work that reflects a diversity of aesthetics, drawing inspiration from the unique color palettes, lighting, and moods I encounter in different places. Such experiences deepen my visual vocabulary and bring fresh perspectives to my work.

AWARDS & RECOGNITION: International competitions including ARC Salon, Mod Portrait, Plein Air Salon, and Salmagundi Club.

Daniel Zalla

RELOCATING FROM: Florence, Italy. The most challenging aspect of leaving Florence for this experience was saying goodbye to the community of friends and artists there who have meant so much to me. My best travels consist of three things: seeking out great paintings, meeting and having fun with interesting people, and immersing myself in nature.

BIOGRAPHY: I am a 26-year-old painter from northern Kentucky. After earning a BFA from Xavier University in Cincinnati, I moved to Florence, Italy, to continue my studies. I completed the three-year painting program at The Florence Academy of Art, graduating with the Best Painting of the Year award. I was selected to remain an artist-in-residence for a fourth year and served as the principal instructor in the Academy’s drawing program. Specializing in portraiture and narrative painting, I have completed commissions for churches, private clients, and collectors in North America and Europe.

SEATTLE PRIZE: This opportunity is a chance to create the most ambitious work of my career—work that stays true to my vision, free from the lingering worry that its time-intensive nature might make it too expensive to sell. Working alongside artists operating at a similar level will push me to sharpen both the intention and execution of my work. During my time in Seattle, I aim to create piecThis is a dream opportunity for me because it provides me with the financial freedom to set aside my commissions and dedicate my attention to the stories that move my soul. It’s a chance to work alongside an incredible peer group of artists, with mentorship from some of the best living artists today. This year, my goal is to step out of the rigid academic realm of painting in which I have been immersed and focus on the creative side of painting: telling meaningful stories that capture the spirit of our times through my individual perspective.

IN SEATTLE: I have learned how indispensable an artistic community is. I welcome the chance to be a part of it. The people, art, and nature in Seattle will enrich my perspective and help me improve my work in ways I cannot predict. Outside of the studio, I have the goal of running the Seattle Marathon and exploring the natural beauty of the Puget Sound, while making lifelong friends. I anticipate continuing my Florence-founded tradition of hosting weekly, from-scratch pizza parties.

AWARDS & RECOGNITION: Finalist in the New Salem Museum of Art‚ International Painting Competition. Silver Medal and Best Drawing Award in the 96th and 94th Grand National Exhibitions of the American Artist Professional League. 2024 finalist in the Art Renewal Center’s Salon Competition, and 2023 finalist for The Portrait Society of America’s Future Generation Art Prize. Southwest Art magazine’s Under 31: Young Artists to Collect Now (2023)

Jackson Wrede

RELOCATING FROM: Grand Rapids, MI. Relocating across the country presents difficulties. Doing it while planning a 200-person wedding just weeks before the move is a special kind of logistical hell. I arrived in Seattle with my new wife, our three cats, and everything we own. It’s a city I have never been to, and I’m here for a program that previously never existed. There’s a certain amount of risk baked in. I left behind familiar networks, steady rhythms, and comfort, but the upside of this project we are embarking on is enormous. You have to leap and make it happen.

BIOGRAPHY: I am a contemporary realist painter recognized for versatility across portraiture, still life, landscape, and beyond. Originally from the northwest suburbs of Chicago, I earned my BFA from the University of Notre Dame and MFA from Kendall College of Art and Design at Ferris State University. Although trained within the university art system, I have charted my own path, embracing classical realism and developing my own techniques as an independent painter. My paintings are held in private collections and have been shown in galleries and exhibitions nationwide.

SEATTLE PRIZE: I cannot overstate how much this means to me. Most artists carry around a fantasy of a single, career-making break. In reality, such an opportunity rarely comes. Most of us have to put our heads down and grind our way up the mountain, step by bloody step. But this once, I find myself staring at that rare, life-changing opportunity. This program offers something almost unheard of in a post-education career: the freedom to work without being bridled by market forces, studio limitations, or financial handcuffs. It is intoxicating, frankly. All I want is to make a name for myself. I want to become one of the most sought-after painters of my generation. I have worked hard to achieve my dream of becoming a successful artist, and this fellowship marks a significant milestone toward realizing that goal.

IN SEATTLE: I want Seattle to feel proud that the atelier fellowship is happening here. I am throwing myself into a new landscape, a new place, a new set of visual inputs. I hope that the art community will recognize what we are doing as a contribution to the city’s cultural life. I want the work we create to resonate with local energy; to reflect our gratitude to the community.

AWARDS & RECOGNITION: First Place in the Portrait Society of America (2024) Members Only Competition. Grand Prizes at both the 42nd Michigan Fine Arts Competition and the 79th Wabash Valley Exhibition. Featured in International Artist, Art and Color 365 magazine. Southwest Art magazine’s Under 31: Young Artists to Watch.

Emma Garay

RELOCATING FROM: Southern California, with a love for exploration.

BIOGRAPHY: My love for the arts began with classical ballet and eventually branched out to include different media for portraying beauty. My interest in traditional methods began with my work alongside Chapman Hamborg, which preceded my formal training at The Florence Academy of Art in 2019. In 2023, I became a graduate in residence, assisting with instruction while working on personal projects and commissioned works. This past year, I have taught academic drawing and painting while continuing to develop as an artist. My artworks can be found in private collections across the United States, Europe, and Asia. I am captivated by daily life, by the people and the stories of those I meet on my journey—the struggles, the small, almost mundane moments that make up so much of life, of love; the connections and bonds we share with others.

SEATTLE PRIZE: I look forward to collaborating with other painters and being part of a fellowship that inspires and expands us as artists. It is a wonderful chance to be supported and given space and time to dedicate to this craft.

IN SEATTLE: There won’t be a culture shock, as I come from the West Coast, but I’m excited to get out into nature and be immersed in the community. Feeling at ease with those you work with, with whom you spend the majority of your time, determines the inspiration to be drawn from a living/working space. I enjoy exploring and surrounding myself with the natural beauty and culture of a place, the people, and the way of life.

Nick Eisele

RELOCATING FROM: Central Mexico. With every move, it is difficult to leave behind friends. My previous experience has taught me that travel fuels my creativity, and I am eager to immerse myself in Seattle’s environment so it can leave its imprint on my next body of work.

BIOGRAPHY: I am a Texas-born painter who has honed my craft on a solid classical foundation. I attended Schuler School of Fine Arts and later served as an apprentice to the renowned painter Will Wilson. A deep belief in the narrative power of light guides my work. I create meticulously staged scenes and still lifes that immerse viewers in atmosphere and emotion. I am influenced by Golden Age illustrators such as Dean Cornwell. I draw heavily from cinematic storytelling, studying film cinematography to refine my mastery of lighting and mood. I am currently embarking on an ambitious journey toward large-scale figurative work.

SEATTLE PRIZE: This opportunity came at the right time. I was ready for something new, seeking a purpose. This could be the transformative nudge I need to become the artist I envision, one who paints not out of necessity but from genuine inspiration. It holds the promise of granting me the freedom to focus solely on my art, to explore new ideas without constraint, and even to embrace failure as part of the creative process. Ultimately, it offers the chance to live as an artist, completely and authentically devoted to my craft.

IN SEATTLE: I welcome the inspiration that comes from new surroundings. My most productive and creative periods happen when I feel grounded, safe, and connected to my environment. Being comfortable in Seattle, whether through a supportive living space, meaningful friendships, or a sense of belonging within the artistic community, will give me the mental space and focus to immerse myself in ambitious projects. In my travels, I have enjoyed the way new places heighten my awareness. I notice light differently, pay closer attention to details, and become more present in the moment. Experiencing diverse cultures and landscapes expands my visual vocabulary and challenges me to see familiar subjects in a new way. In Seattle, I expect this heightened awareness will shape my approach to light and atmosphere in new and exciting ways.

AWARDS & RECOGNITION: Best of Show in the NOAPS Best of America Small Works exhibition, recognition from the Elizabeth Greenshields Foundation, and a purchase award from the Art Renewal Center.