Working under the name La Datcha, I craft a world drawn from nature and imagination, filled with woodland creatures and forest animals. Hailing from northwestern Quebec, I was raised among forests, rocky landscapes, and wild animals—surroundings that continue to feed my creative work today. Trained in fine arts and multimedia, I discovered ceramics about fifteen years ago. I found in it a medium well-suited to storytelling, which I often combine with illustration to create un

Through my ceramic works, I explore the connections between nature, time, and the traces left by human activity. Every gesture, every intervention—whether visible or subtle—imprints a memory on the material. My pieces thus become sensitive witnesses to a present shaped by the past. Clay is at the heart of my practice. It acts as a material of memory, capable of revealing the impacts of time and carrying an identity. I prioritize the dialogue between the clay and the glazes, w

I have been working for seven years in the fields of design, event planning, and museology. Always on the lookout for new things and with a naturally curious mind, I have been drawn to the wonderful world of pottery since I was a child. Stimulated and inspired by working with this highly malleable material, I decided to devote myself to it more fully five years ago. My ceramic practice is an extension of my multidisciplinary background. I incorporate elements from my training

I am interested in the inherent language of shape. The beauty of simple forms, impacted by the history of experience. In my work I aim to amplify the voice of the material and the process. The depth of surfaces achieved through long atmospheric firings draws me in, as it tells the story of many hours of extreme conditions. Functionality is important to me, as it re-entwines beauty into our everyday and uplifts mundanity. Everything needs holding; coffee in a mug, soup in a bo

DUBORD | DÉRY emerged from the meeting of two contrasting ceramic worlds: one minimalist, evoking misty landscapes and an inner silence; the other exuberant, celebrating rich textures and vibrant designs. This dynamic polarity creates a fruitful tension, making each piece a space for formal and intuitive dialogue. Driven by mutual listening and creative confrontation, the two ceramicists form a third voice—neither entirely one nor the other, but resolutely hybrid. The resulti

My artistic approach is rooted in a reflection on tableware, viewed as a space for conviviality and sharing. I design functional objects intended to enhance everyday moments, paying particular attention to the pleasure of use and the tactile quality of the pieces. My forms are deliberately simple and classic, to highlight the surface work. Engraving plays a central role in my work: it allows me to create rhythms and textures that bring each piece to life. These patterns are

Coming from a line of potters, I have chosen to marry the old with the new by producing modern, committed ceramics. With the "Not made in china" and "Cé Faitte Icitte" collections, I invite consumers to reflect on the objects that inhabit our daily lives. I invite them to consider the person or persons who made them, and to think about the provenance and context in which they were made. I also ask about the emotional relationship we have with our possessions. All the pieces i

For me, working as a ceramist is a life experience that allows me to reclaim my time, my space, and my individuality. Through pottery, I have been able to work with clay day after day and gradually develop my expertise. I feel increasingly free to express the imagination that lives within me. After all these years, clay still inspires me, and functional ceramics remain my primary focus. I feel a deep joy and pleasure in throwing, shaping, stamping, and assembling clay to crea

Maybe it's because pottery saved me from a future that didn't suit me, or because I feel every gesture in the present as I touch the clay, but the themes of healing and difference are recurrent in my work. While collections such as Le Remède and My medicine need no elaboration as to their meaning, other collections echo this theme with subtlety. The new Sans doute collection, for example, whose intention is to illustrate that our place may not be where it should be, but it re

The passion for ceramics has always been present for Andrée Dumas, ceramist. After a career in engineering and management, she left business meetings to reorient herself in this manual and creative profession that has always inhabited her and perfected her apprenticeship at the Bonsecours ceramic school. A great lover of good (and long!) meals with friends and family, Andrée likes to cook, receive and share around a colorful table. Naturally specializing in tableware, she is

Halfway between decorative and utilitarian art, my pieces are imbued with softness and delicacy. My inspiration comes mainly from my fascination with Art Nouveau, with its highly detailed vegetal flourishes and works that reproduce nature in all its complexity. For me, technique is as important as instinct. I try to give my pieces a look that tends towards the imaginary, with the occasional hint of the bizarre. Each piece is unique and entirely handmade. https://www.facebook.

Drawing its inspiration from nature, more specifically from waterways, with their sanded river pebbles in often surprising colors, Fabrica Ateleia aims to offer tableware that gives free rein to the customer's imagination. In fact, with its lines and shapes available in both classic and organic versions, and with a vast choice of matching glazes, customers can create a completely personalized ensemble to suit their image. The possibilities are endless, creating a unique "mix&

After a series of encounters with potters in 2001, in 2002 I began to explore "in my turn" the shapes and curves that can be given to clay! My path naturally led me to specialize in utilitarian pottery with which I take pleasure in combining classic and modern, serious and whimsical, glossy and matte... playing with all possible contrasts to transform your utilitarian piece into a work of art! Inspired by textures produced by tools that I cut myself, the piece is enhanced wi

The object and decorative techniques lie at the heart of my artistic approach. Clay and its transformation through firing form the foundation of my practice. I am particularly drawn to the ancient skills preserved and passed down by women. I aspire to bring them back to life. Hollow forms, intended to be filled, hold great significance for me. I am deeply interested in objects with both utilitarian and ornamental purposes, their function, and their symbolism in everyday life.

Creating is my way of inhabiting the world. Through materials, I explore what moves me, what resists, and what seeks to be communicated. The artwork becomes a sensitive language, a bridge between the personal and the collective, a space for sharing where vulnerability opens up to others. My approach unfolds within a fruitful tension between introspection and critical gaze, between personal fragility and social consciousness. It is rooted in a careful examination of human natu

I make ceramics to create pieces that, while useful in everyday life, appeal to the playful side of each and every one of us. Through my work, I hope to contribute to the creation of a poetic, joyful environment. I discovered and learned to work with clay in 1996, when I attended the workshops of Rachèle Simard and Daniel Gingras. Since then, this material has always inspired new projects in me. Its malleability allows me to concretize exactly what my mind imagines in relatio

Jump into a world of imagination with Eva Ferenczy-Reichmann's artful and whimsical creations made from clay and porcelain. Wheel-thrown, altered and assembled, Eva’s one-of-a- kind original works dance with joy and elegance, capturing their audience with distinctive style and humor. velitchkovart@yahoo.ca https://www.facebook.com/p/Evas-Art A look at what you will discover.

Clay is at the heart of my practice. A living and fascinating material, it reveals sometimes unexpected qualities at every stage. My work begins long before the form takes shape: it starts with the very creation of the clay itself. For each of my collections, I develop a hand-pigmented porcelain in my studio. Using different blends of pigments, I create a unique clay, unavailable on the market, to achieve a color specific to each collection. This chromatic exploration forms t