#1
Ensemble Year: 2021
Size: 50cmx25cmx15cm
Materials: Grès, engobles, sous glaçure, glaçure
Ma pièce Ensemble traite du souvenir et des relations humaines. Je suis partie de photos de famille pour créer une série de figurines et d’éléments me permettant de reconstituer des saynètes à la manière de dioramas. Indépendantes les unes des autres, libres de tout socle, mes figurines invitent à la manipulation et à la narration.
J’approche la céramique à la manière d’un collage, en jouant avec les compositions, en me laissant surprendre, en provoquant l’imprévu. L’aspect ludique, parfois même enfantin, de mon corpus artistique est contredit par l’étrangeté de son esthétisme. Imparfaites et bizarres, mes pièces témoignent de mes doutes, de mes faiblesses, et questionnent plus généralement nos défaillances en tant qu’êtres humains.
Depuis début 2021, j’emporte mes figurines dans mes déplacements pour les photographier in-situ dans des lieux qui m’inspirent. Je souhaite ainsi documenter le présent, tenir un journal de cette année hors du temps où nos déplacements sont limités et les relations humaines rares. Ces clichés faits dans un nouveau contexte habillent mes souvenirs d’une narration inattendue. Pour l’exposition, je pense joindre à mon installation, un album photo imprimé de mes figurines dans ces différents lieux. Ainsi, les temps passés et présents se confondent, l’imaginaire s’invite dans le réel.
Technical requirements: J'aurai besoin d'un bloc ou piédestal sur lequel poser mes pièces et mon album photo. J'ai une question pour vous: j'ai également fait une vidéo en stop motion qui pourrait accompagner l'installation, que j'ajoute plus bas en pièce jointe... mais je n'ai aucune idée de comment la faire fonctionner en boucle dans le cadre d'une exposition. Je n'ai pas non plus accès à du matériel technique (ordinateur)... donc... peut-être que je ne la joindrai pas, si c'est trop compliqué à organiser…
#2
L’étoffe du monarque
(The Monarch Fabric)
Year: 2021
Size: H 45cm x W 40cm x D 35cm
Materials: Porcelain, underglazes, stain washes, glazes
For centuries, fabrics and dyes were precious goods. The garments made from it were functional and durable. People possessed few costumes and they cared of it, repairing it and passing it on inheritance. With industrialisation and electrification, the art of fabric and costume making lost its preciousness. Today, overconsumption makes us forget the suffering of the textile workers, past and present, and the pollution caused by mass production. Nobody care anymore about the fibre content and the origin of their garments. People buy clothes in an incessant desire to meet the fashion requirement at the lowest cost possible ignoring the fashion industry appetites for profits. As the industry endlessly tries making the fastest and the cheapest clothes, the environmental and human cost is huge.
The formal jacket is the uniform of the deciders, a symbol of men’s power and money making. The monarch is the king of the butterflies but also it is an endangered specie. It acts as a symbol of fragility and calls the decision-makers of fashion industry to make sustainable choices for the Earth and its habitants. It also invites customers to take back this power by expressing their choice of that skin they choose to wear.
Technical Requirements: Plinth
#3
HeartBeat
Year: 2021
Size: 22x15x15 20x15x15 17x14x16 (in cm)
Materials: Ceramics
HearBeat is the name of an imaginary music group playing at the Spring Concerts in the Park festival. There is Axel playing the guitar, Francis playing the tuba and Denis playing the trumpet.
Each ceramic sculpture has an element on his head that identifies the instrument she/he plays. The hair style, the accessories and the expression of the figures were combined to characterize their musical style as innovative, intriguing and enthralling.
The heads where made using the coil technique. Engobes, underglazes and glazes were used for the surface decoration to add some expressionism flavor.
Technical requirements: It would be nice to be able to see around them, 360 degrees, because there are surprises on all sides.
#4
The Carrier
Year: 2019
Size: 30 x 9 x 7 inches
Materials: Stoneware, porcelain, glaze, oxide wash
When 2D forms are translated into 3D objects the possibilities are endless and it brings to life abstract dynamic forms. “The Carrier”, is a version of this exploration of the translation of dimensions; an exploration I have been tackling to bring to life gestural sculptures that correlate with my 2D compositions. In turn, the sculpture’s surface is treated like a canvas for new 2D compositions that are now referencing the sculpture they are drawn on. This creates a cycle that allows growth and evolution while maintaining a structure to build on. The gestures I am referring are directly linked to the body and the different ways it is integrated in my approach to sculpting.
My goal in every composition is to create depth within a flat surface, to create tension while retaining balance and harmony, and to allude to certain elements without being too explicate. When gestural marks and control outlines are combined it creates a dynamic surface. In every new composition I create, a visual vocabulary of my own emerges, and in turn, evolves with its every use.
Technical requirements: No technical needs
#5
Juste les chiens après 20:00
Year: 2021
Size: 2'X2'
Materials: céramique, spray paint, étagères de bois (2), fleurs
Avec la dernière année pandémique et suivant les discours de notre gouvernement comme par exemple le couvre-feu. Je me suis vu fascinée par l'engouement d'adoption et vol de chiens qui est survenue au Québec afin de se donner en quelque sorte une liberté. À ma plus grande tristesse, amener le chien dans ma pratique est venue naturellement et dans l'obsession comme une forme d'Ode à l'amour pour notre meilleur ami qui est cette merveilleuse créature aimante, aidante et enjoué. Cette installation de céramique se voit comme cela, une ironie du sort que le chien malgré lui a vécu en 2021. Nous y trouvons un vase de chien-horloge inscrit 20:00 et tout ce qui l'entourent, tout ce qui adore. Ce projet ce veut également humoristique, un ''Shrine'' de l'ami poilu car l'humour en ces temps étranges est en mon sens très important. Le ludique vient apaiser, nos tourmentes sociétales. Ce projet je le vois comme une douceur et une réflexion sur le beau et le laid de notre société.
Besoin techniques: mur pour accrocher les étagères
With the last pandemic year and following the speeches of our government such as curfew. I was fascinated by the adoption craze and stealing of dogs that occurred in Quebec in order to feel some kind of freedom. To my sadness, introducing the dog in my practice came naturally and obsessively as a form of Ode à l’amour for our best friend who is this wonderful loving, caring and playful creature. This ceramic installation can be seen like this, an irony of fate that unfortunately dogs lived in 2021. The installation includes a dog-clock vase inscribed 20:00 and everything around it, everything that loves. This project is also humorous, a "Shrine" of the hairy friend, since humor in these strange times is in my opinion very important. The playfulness comes to appease our societal torments. I see this project as a sweetness and a reflection on the beautiful and the ugly of our society.
Besoin techniques: wall for hanging shelves
#7
Observers
Size: It is a video, so it depends on the size of the screen available
Year: 2021
Materials: Ceramics and video performance
The Observers performance installation is about how more often than realized, we act as observers in cases of oppression. The performance has 15 hanging eye sculptures on the tree. The eyes represent individuality. This individuality is shown by the unique traits they all carry, such as different colours, cracks and missing elements. The cracks and/or the missing elements in the eyes, are signs of trauma and pain caused by oppression. They indicate how some individuals suffer more than others, at the hands of public administrations. As a collective, they are all affected by the tree branches on which they rest. When the wind blows, they all move with the rhythm of the tree. The tree is a paradox of subjection, a system in which it is deeply structured in our society and affects us individually, yet we still depend on it. The eyes are a collective consciousness. A consciousness where there is an awareness of systematic racism where oppression relies. But at last, the eyes are merely observers. The installation is a reminder that a collective consciousness is not enough. Colonial discourse within white supremacy revolves around stereotypes, prejudices and ignorance. All in place to identify BIPOC people as the “other”. This takes the embodied form in systematic racism. Without the action of dismantling these discourses, the collective consciousness is merely a performance act.
Technical requirements: A projector for the video and audio
#9
Transference
Year: 2021
Size: 12x10x25" and 34x12x15"
Materials: Stoneware
This piece is about the idea of energy and how it is passed from one individual to another. Whether it be positive or negative, energy never fades, it simply changes; reconfiguring from one form to the next. We as living beings are unknowingly subjected to this force and its power over us. This sculpture was born out of an experience when a powerful and hateful energy poured out of a family member and into me as we embraced during a moment of emotional turbulence.
I believe it was integral for this piece to be constructed in clay. The lengthy and arduous process of ceramics allows the maker a moment of meditation and personal connectivity to the work. The tactility of the medium tracks the presence of the creator which in turn builds a relationship between the maker and the made because you not only metaphorically but also physically see yourself reflected in the work. While creating these sculptures I absentmindedly began anthropomorphizing them and caught myself treating them as if they were living beings. I started to view this work as an extension of myself and it was then, in a moment of vulnerability, that I realized the weight I had been carrying. I became blatantly aware of the invisible force that tether individuals together. After this realization I was able to purge the energy that was unknowingly transmitted into me and harbour it in these vessels so I no longer had to.
Technical requirements: One plinth, the second sculpture will stand on the ground.
Cette sculpture et la vidéo qui en découle sont une demi-satire de notre société de divertissement. Combinant à la fois nouvelles et anciennes technologies, "Il y a l'objet et tout l'amour qui en déborde" est à la fois une sculpture céramique qui fait écho aux tablettes d'écriture cunéiforme d'il y a 5000 ans et une vidéo d'animation "low-tech" empreintes des outils de communication quotidiens.
Cette œuvre, tout comme le travail de Loriane Thibodeau en général, joue sur les forces d'attirance et de répulsion afin de questionner notre humanité avec humour.
Technical requirements: J'aimerais présenter à la fois la sculpture sur un socle ainsi que la vidéo. Je verrai avec vous si je la projète au mur ou bien si je la projette sur un réel ipad à côté de la sculpture céramique. Je suis même ouverte à d'autres options! :))
#13
La Débauche
Year: 2021
Size: 15"x27"x10"
Materials: Porcelain clay and wood
La Débauche is an art piece representing a gathering of black women enjoying life. It's an ode to the joys of being surrounded by friends, particularly inspiring black women. It depicts what happens when a group of women are being themselves. Joy is overflowing. This piece depicts a gathering ceremony. They are currently healing each other's daily pains, exchanging laughs, and dancing together. This work of art is a personal reminiscence of time spent with my friends and my last trip to Spain before the unprecedented time we are currently experiencing. As a result, the current situation has made me think of Barcelona, Sevilla, and Tenerife. I was nostalgic for the beauty of this country and its culture because I couldn't travel anymore. I was also reminiscing about my debauchery after finding their wines on occasion. This piece helped me to have fun dressing them up in pieces and colours that I enjoy, some of which came from Paloma Wool, a Barcelona-based clothing project.
The aim of this project was to take a humorous look at the scene and be able to relate to it in a variety of ways. Like the time you were so inebriated that you couldn't stand up straight, or the time you told your best story over a glass of _. It is, above all, about representing women, especially black women. Black joy is revolutionary, healing, and radical.
Technical requirements: A pedestal, something solid to put them on
#15
Untitled
Year: 2021
Size: 10.5 x 7.5 x 7.5cm
Materials: Porcelain
What is broken?
Is it something you didn’t handle with care?
Something you couldn’t save?
If something is broken, is it still precious to you?
If something is broken on purpose, do you still think it’s broken?
Technical requirements: TV-screen
#16
Plancher parc-xxx
Year: 2021
Size: 8x10x2
Materials: colored porcelaine, wooden frame
Le plancher de mon appartement de parc-x durant mes deux premières année de BAC à marqué ma mémoire.
Technical requirements: 2 nails and hammer
The floor of my park-x apartment during my first two years of
BAC marked my memory.
Technical requirements: 2 nails and hammer
#18
Rétroviseurs à dessin
Year: 2021
Size: 1.5"x4"x5" 2.10"x11"x8" 3.9"x4"x6" 4.10"x6"x4" 5.8"x15"x4"
Materials: porcelaine, terra cotta, gres, glacûre, boulons et écrous
Statement: Rétroviseurs à dessin est un projet né d’explorations fortuites entremêlant céramique et illustration. Issu, à la base, d’une recherche formelle sur la matérialité de la céramique, ce projet exploite tant ses vices que ses qualités. Réutilisant d’anciennes plaques de cuisson devenues inutilisables, on aperçoit les traces d’anciennes créations; débordement de glaçures ou silhouette d’un gaz. À ces imperfections s’additionnent de nouvelles applications qui donnent des résultats imprévisibles, des témoignages de multiples vies. Le projet s’articule aussi comme une recherche de traits, une application du dessin à la céramique. Des esquisses voient le jour par l’entremise de crayons de sous-glaçure ou de gravures à la meule à dents. Ces mêmes crayons résultent d’expérimentations en laboratoire qui, sous différentes températures, ingrédients et pigmentations, ont laissé ressortir une gamme de couleurs, de lignes et de textures intéressantes. Les différentes terres, parfois surcuites, se superposent à la porcelaine claire par des systèmes de pentures. Cet assemblage mécanique, s’inspirant du mobilier urbain, permet une mobilité atypique pour la céramique. Orientées d’un côté ou de l’autre, les surfaces répondent et conversent avec le paysage. Les œuvres se greffent au bâti et agissent comme une filtration et une réinterprétation de l’espace. Reflétant par leur dessin l’architecture qui les entourent, chaque pièce s’inscrit dans la ville, à même le territoire, comme un graffiti nouveau genre. Au milieu de l’espace urbain, c’est aussi un jeu de formes insolites, qui captent le regard et s’installent entre l’utilitaire et l’absurde.
En vue de cette exposition, il serait intéressant de pouvoir exploiter les possibilités et caractéristiques de mes petites œuvres à leur plein potentiel. Par exemple, si possible, celles-ci pourraient être placées à l’extérieur, sur le mur de la bâtisse, attirant l’œil sur ces objets insolites et accompagnant l’exposition au de-là du lieu intérieur.
Technical requirements: clous ou vis au mur
Drawing mirrors is a project born of fortuitous explorations intertwining ceramics and illustration. Stemming, at the base, from a formal research on the materiality of the ceramics, this project exploits both its vices and its qualities. Reusing old kiln shelves that become unusable, we see the traces of old creations; overflow of glazes or silhouette of a gas. To these imperfections are added new applications that give unpredictable results, testimonials from multiple lives. The project is also structured as a search for traits, an application of the ceramic drawing. Sketches are created through pencils of under-glaze or engravings with tooth grinding wheels. These same pencils result from laboratory experiments which, under different temperatures, ingredients and pigmentations, have brought out a range of colors, lines and textures. The different clay bodies, sometimes overcooked, are superimposed on the light porcelain by hinge systems. This mechanical assembly, inspired by urban furniture, allows atypical mobility for ceramics. Oriented to one side or the other, the surfaces respond and converse with the landscape. The works are grafted to the building and act as a filtration and reinterpretation of space. Reflecting by their drawing the architecture that surrounds them, each room is part of the city, within the territory, as a new kind of graffiti. In the urban space, it is also a game of unusual forms, which capture the eye and settle between the utilitarian and the absurd. In view of this exhibition, it would be interesting to be able to exploit the possibilities and characteristics of my small works to their full potential. For example, if possible, these could be placed outside, on the wall of the building, drawing the eye to these unusual objects and accompanying the exhibition at the inner place.
Technical requirements: nails or screws to the wall
#19
Je suis une plage précieuse, moi aussi. (Eng: I am also a precious beach.)
Year: 2021
Size: Around 2 meters on a wall and 40cm off the wall
Materials: Ceramics and photographs
Statement: The work “Je suis une plage précieuse, moi aussi.” is the documentation of an ongoing project that allies sculptural ceramics and participatory performance. With a variety of clays and glaze materials, I have created unique weighty stones. Each of them has its own shape, texture, and colors; none being manufactured with a specific vision. As I was creating them, I would accumulate the collection in my bag to bring with me as I was meeting friends, family, and acquaintances. At these encounters, I would offer them to choose one, amongst all, to be a gift from me. I would then snap a picture of their selected ceramics in their hands.
With this work, I create a parallel with the experience of walking on a beach while looking for something precious to hold and keep. Like such, I am this landscape: I act as the site where materiality arises, and physical connection is established. The stones have for origin my person. They are mine in all their diversity and imperfections; I embrace the multiplicity in my oneness. By offering stones to people with whom I have a relationship, from deep to casual, I create a collaborative performance. As the acts of creating and gifting repeat, I accumulate instances of magic. Each of my stones is now also someone’s, owned by two. As a queer woman who mixed the clay, elaborated the glazes, and fired the work; I explore questions around community, identity, and valorization.
The project would be presented with high-quality printed photographs of the hands, as well as with the current collection of stones in my possession. There would also be a text explaining the work. The suggested installation is subject to changes, but the overall dimensions and site (on a wall) will remain the same.
Technical requirements: A white wall and a small plinth.
#22
Protective Artifacts
Year: 2021
Size: wall space of approximately 3ft x 3ft, and 12” plinth
Materials: Photographs or projection of raw clay installation, and glazed ceramic figurines
This project attempts to explore and excavate hidden meaning in the everyday environment. At first, a new or strange object such as a discarded surgical mask, can alarm us, provoke fear, or arouse curiosity, but with repeated exposure, we begin to filter it out and normalize it as a given part of our surroundings. After enough time has passed, an ignored object slowly begins to accrue importance, and finds value again as a historical artifact. The objects that are able to survive the passage of time, have the chance to be unearthed, catalogued, interpreted, and possibly even understood. Evidence of human impact can be read in the geological layers of the earth, our current dwelling place. In the middle of the immediate crisis that is a global pandemic, I wanted to look at how we might conceive of this time period in the future, especially under the lens of the looming threat of climate change. This project was conceived as a raw clay installation, which is documented in the first photos, but as I considered the ability of fired clay to persist over time, I thought that it might be interesting to consider the possibility of finding these fired figurines at some point in the future, and the mystery and confusion about their meaning that may occur. Without the central focus of the mask which will break down and become inseparable from the environment, the figurines become more ambiguous and their narrative is even less clear. This project can be displayed as 3 printed photographs of the raw clay installation alongside the fired figurines, or as a projection of the images alongside the fired figurines.
Technical requirements: Small pedestal for glazed figurines. If displaying the 3 photos, then wall space, if using the projector, then electrical outlet and wall space.
#23
Plastic Moulding and Fonctionnal Ceramics
Year: 2021
Size: 7 small objects each 10"x4"x2"
Materials: porcelain, plastic, plaster
An experimental process that utilizes traditional fabrication methods and materials combined with new processes like 3D printing to shape recycled plastic into meaningful objects. Production of a musical instrument for a culturally sensitive curriculum. This project demonstrates that traditional art and craft practices like ceramics production can be used to tackle contemporary problems like the production of valuable recycled plastic objects. In the process both the ceramic object and the plastic object acquire new meaning and value through their interaction.
Technical requirements: a pedestal and lighting.
#26
Materiality of the breath
Year: 2021
Size: Video
Materials: Video
Statement: Keywords: Breath, Time, Materiality, Repetition, Hands
Over the last 3 months, I have been making porcelain vessels that materialize moments in time during the day.
I started with making one press-molded bubble-like vessel. This led me to make a dozen smaller pinched vessels.
This project is about the process involved in these repetitive actions and the tensions that arise while making the forms and the glaze. While staying in touch with the simplicity of this process, I embrace the fragility of porcelain:
building the forms pretty thin makes the joining of the two pinched parts rather unpredictable and represents sometimes a struggle. With each object, I am taking the time to materialize a dialog with the clay and accepting the risk that the form collapses, breaks or cracks. While wanting them to be whole, I intend on leaving space for the clay to balance between resistance and tolerance in response to my actions.
Through this process, I hope to be able to embrace the potential for failure in the materialisation of a space in time.
The installation and performance are set in the forest, in a natural environment, allowing for some breathing room.
Technical requirements: Monitor
#11
Altar
Year: 2020
Size: 24x24
Materials: Ceramic, fabric, fire
Statement: Rituals and magic have been part of many cultures since the beginning of time. Many of us grew up making magic potions with grass and water in our backyards. During the month of October, I was very inspired by these notions and pictures of other people’s altars so I decided to create my own. I chose to make teeth out of porcelain because replacement teeth have often been made with these materials already. My porcelain teeth are unglazed and reduction fired to give them the most realistic representation possible. Rituals and magic have been part of many cultures since the beginning of time. Many of us grew up making magic potions with grass and water in our backyards. During the month of October, I was very inspired by these notions and pictures of other people’s altars so I decided to create my own. It is suggested to use animal bones if using bones at all which is why I chose to make a deer antler. Antlers can be found in the springtime when deer shed in order to grow new antlers which makes it an ethical source for gathering bones. I used Stoneware to replicate the strength and power of the bucks. The antlers were washed with iron oxide and fired in oxidation. Bird skulls are also easily found on the forest floor and can be found in many altar representations. Crows are the most commonly used because they are believed to have the strongest connection between the afterlife and this realm. The skulls that I created are made from stoneware and sponged with an iron oxide wash. They are fired in oxidation. I also chose to create a hand to accompany my altar. I feel that the most common symbol associated with magic or witchcraft is the palmistry hand. Many of us have seen the neon lights in a window promising fortunes told. The hand is created from porcelain to represent the fragility of our futures. We can create our own fortunes and our own paths. We can break cycles just as easily as this hand can break when dropped. The hand was glazed with clear transparent glaze and fired in reduction.
Technical requirements: Just needs a podium or another base