You Are Me II A masterful enormous porcelain vessel from the 2016 solo exhibition, You Are Me, at the Ottawa Art Gallery 56l x 25h x 56d cm
You Are Me
The original You Are Me installation was exhibited in 5 venues:
2016 Ottawa Art Gallery
2017, les échanges d’énergies, Le Centre d’art, La Sarre, QC
The installation then travelled to my solo
2017 Compassion, Centre Materia, Quebec City, QC
2018-2019 Taiwan Ceramic Biennale, Humanistic Return: The Spiritual Origins of Ceramic Art
2020 Art Gallery of Burlington, ON
"My practice is rooted in the relationship between process, material and meaning. I am interested in the exchange of energy that is essential to life, be it intrinsic or extrinsic. The energy at the molecular level that attracts or repels particles of clay is invisible to the eye, but the effects are apparent. I have developed a process of working in which the juxtaposition of clay and glass creates another layer of tension, allowing me to test the limits of endurance and resilience within the form of the porcelain vessel.
I am drawn to how these ceramic materials and processes have affinities with the human condition; how we respond and engage with the injury of experience - within, with each other, with the other. By embracing wounds, deeper meaning can be brought to our lives, transforming suffering into something worthy, sensuous and beautiful.
Tu es moi
Ma pratique artistique découle des liens qui existent entre matière, processus, et signification. Ce sont d’ailleurs les échanges d’énergies essentielles à la vie, qu’ils soient intrinsèques ou extrinsèques, qui m’intéressent. Pour moi, bien que la force moléculaire attirant et repoussant les particules d’argile ne soit pas visible à l’œil nu, ses effets sont évidents. Le processus de travail que j’ai développé et par lequel je juxtapose l’argile et le verre crée une tension additionnelle qui me permet de tester les limites de l’endurance et de la résilience de la forme du vaisseau de porcelaine.
Je suis attirée par les liens unissant la céramique, ses processus, et la condition humaine. C’est pourquoi j’explore par mon travail artistique les réactions et
interactions personnelles et communes que nous avons tous avec les blessures de la vie. Les accueillir permet d’impartir une signification plus profonde à nos vies. Ainsi valorisée, notre souffrance se convertit en objet de beauté et de sensualité."
Still Breathing II, porcelain vessel, 49l x 16.5h x 20.5d cm, 2022.
"When I start with a bucket of porcelain slip, it can take on any shape. The slip is cast into moulds I make from plaster and are in the shape of smooth bowls. I choose to set up a dynamic where the vessels move, warp, fragment and collapse, reflecting aspects of life. I look for ways to support them, accompany them, as they change in response to the stress they embody. Was the support I gave it too much, not allowing it to move as it needed to? Was the support flexible enough to let this new stage in the development of the piece become its best self? Some pots, like people, are easy to love. Others are harder to engage with and I make a conscious choice to work with them trying to see the beauty within. Then the long journey of layering slips and glazes over many subsequent firings is next."
Still Breathing is on exhibition at the Jingdezhen International Ceramics Biennale 12/18/2021 - 11/15/2022, in China.
Still Breathing won the Kito Prize, which includes a three-month residency any time in the next two years.
"A bowl seen as a metaphor for the human condition holds sacred space. This bowl, on its side, still holds some space, some signs of life. It is still breathing, resilient.
I induce fissures and movement in my porcelain forms through the juxtaposition of clay and fibre-glass, symbolic of how we are essentially composed of the same molecules, just put together differently. I am manipulating and responding to how this stress changes the shape as it dries. I am concerned with how we respond and engage with the injury of experience - within, with each other, with the other."
"This sculpture stems from a piece a created in response to my time aboard the Canada C3 Expedition marking the 150th Anniversary of Canada’s Confederation. That piece, Who is Speaking? Who is Listening? was made out of porcelain elements in the shape of ear trumpets, referencing animal horns traditionally used as hearing aids. I wanted to draw attention to the quality of both speaking and listening as foundational to moving forward. I love this simple shape, how light and shadow falls on the form. When I began playing with them in pairs, I saw how when they are placed opposite each other they can curl under the other form, support it and hold it tight. They can stabilize the other, keep each other in balance. To commune is a very deep and vulnerable state, one where you feel heard."