ARTISTS RESIDENCY
Lou-Anne Daoust-Filiatrault
For her five-day residency at 1001 Pots, Lou-Anne Daoust-Filiatrault explores scale as a language. One that shifts ceramics from the functional toward the sculptural. Her project focuses on creating one large stoneware piece each day, built on the wheel in sections and then assembled, examining how size, modularity, and gravity shape perception and the physical experience of the work.
The pieces are conceived as autonomous volumes or reconfigurable forms, able to be stacked and arranged into different heights and spatial configurations. This approach, developed through master classes with Stephen Proctor in Vermont, explores the relationship between gesture, material, and space: how repetition, proportion, and gravity influence movement and the reading of a form.
Visitors are invited to follow the daily evolution of the work, to observe the tension between stability and movement, and to witness the direct relationship between gesture and material. After the residency, some pieces will be left outdoors in their raw state, returning slowly to the earth. A complete cycle.
Bourse SODEC, Aide aux entreprises en métiers d'art 2025 · Prix du public, Parcours Céramique Montréal 2023.
Roxane Charest
Building on her Méandres collection, Roxane Charest will devote her five-day residency to an exploration of small sculptural, organic, minimalist, accessible forms. Pieces ranging from medium to miniature in scale, conceived to slip into everyday life: on a bedside table, nestled among plants, perched on a shelf. Small treasures hidden throughout the home.
The project rests on an intuition: could wheel-throwing followed by controlled deformation replicate the organic fluidity of coil-building, but more quickly? By shortening production time, Roxane hopes to make these unique sculptures accessible to a wider audience. Art, here, is not reserved for gallery walls.
This residency also marks a pivotal moment in her practice, the deliberate shift from the utilitarian object (already somewhat sculptural) toward the purely sculptural form, which needs no functional justification beyond the pleasure it gives to the eye.
Prix Présentation visuelle, Salon des métiers d'art du Québec 2024 · 1st Prize Évolution, Caisse Desjardins de la Culture 2019
Ève-Marie Laliberté
Ève-Marie Laliberté's residency project explores a fundamental tension: between control and surrender, the rigidity of the mould and the unpredictability of material. Over five days, she will create four sculptures by combining slip casting with the assembly of neriage slip sheets, a technique of layering different-coloured clays to create complex, intricate patterns.
These sheets will be applied to moulded forms drawn from her utilitarian objects: the cooler vase, the deep plate, the globe vase, the pasta bowl. The intention is to transcend the standardized quality of the mould by adding organic, fluid forms, as though the material were seeking to overflow, to escape its frame. The mould becomes less a tool of reproduction than a point of departure.
The pieces play on a contrast between apparent fragility and real structural strength, between functional object and art object. This deliberate displacement blurs boundaries and questions the value of objects, their real or symbolic utility, and the place of art in everyday life.
1st Prize « Tablée festive », ACQ 2025 · 1st Prize « Objet design », Carac'Terre 2025 · Finalist, La Guilde 2023
Ellora Rangaya
During her five-day residency at 1001 Pots, Ellora Rangaya will undertake a protocol as rigorous as it is exhilarating: making 101 handles, by hand, without pause. This intensive project is rooted in her historicist approach — a practice that engages with the aesthetic codes of the 17th, 18th, and 19th centuries while bringing them into dialogue with contemporary culture.
The handle — the precise point where an object meets the body — carries a remarkable complexity of its own: functionality, comfort, aesthetics, and harmony with the vessel it belongs to. Through hand-building and modelling, Ellora will explore its formal limits, its curves, tensions, and patterns. Each handle will be conceived as an autonomous micro-sculpture, where accident and spontaneity are fully embraced.
At the end of the residency, the most resolved handles will become templates or press-mould matrices, destined to enrich the formal vocabulary of her Heirloom and Corniche collections. A protected space-time, free from production pressures, to nourish a long-term practice.
Prix de la relève, 1001 Pots 2024 · Prix coup de cœur du public, Centre de Céramique Bonsecours 2024
Jean-François Bourlard
Jean-François Bourlard has been a ceramic artist for over twenty years. His deeply experimental practice centres on the research of materials and firing techniques.
He works with the forces and movements that heat generates (in suspension, in rotation, in layering) to produce vessels, sculptures, installations, and performances charged with raw, unexpected energy.
In 2012, he received the Prix « L'Œuvre » from the Fondation d'Ateliers Art de France for his monumental installation Raku Punk ou la cuisine du Potier.
Valérie Blaize
Valérie Blaize has been a ceramic artist for over fifteen years. Her practice, centred on decoration and storytelling, has progressively expanded to include drawing, performance, and immersive installation. Ceramics remains the primary medium of her work: each piece of porcelain or stoneware becomes the support for a singular composition, akin to a collage, where repurposed words and images meet the glazed surface. Her graphic work, nourished by a daily drawing practice, runs through her entire approach, with language holding a central place. The assembly and repurposing of everyday objects are equally at the heart of her research: by drawing on the familiar, she invites the viewer to enter the work, to handle it, to leave their own mark upon it. A graduate of the École des Beaux-Arts de Bordeaux, she has coordinated several multidisciplinary projects in collaboration with other artists, and has been co-performer alongside Jean-François Bourlard since 2014 in the performance À table.
In 2026, she presents 1400° at Galerie BAG in Bordeaux, a project born from the accidental destruction of her ceramic kiln, which reached temperatures exceeding 1400°C before destroying itself along with its entire load.
Her work — prolific and always in motion — reflects a relentless curiosity and a rare ability to continually push the boundaries of her research into new territory.
Célia Beauchesne
Célia Beauchesne's practice unfolds at the intersection of ceramics, fiber, and printmaking. What drives her: the tensions between nature and artifice, order and chaos, the rigor of a process and the freedom of chance. Her works hold together movement, memory, and transformation.
For her residency at 1001 Pots, she will deepen a line of research begun during her master's at Concordia: setting ceramics and printmaking in dialogue, treating glaze and ink as two parallel, alchemical layers. Her project: a series of porcelain wall pieces that function simultaneously as sculpted matrices and monotype printing surfaces.
Each slab (adorned with carved reliefs, coil details, and ornamental frames) will first be shaped, then printed using silkscreen with colored underglazes, before a final intervention in the kiln. Wax resist, stencils, and glaze application will enrich the surface, revealing an image that is at once botanical, abstract, and deeply alive.
Visitors will be invited to witness this alchemy in real time: matter receiving the image, fire fixing the unpredictable.
Master’s student in Fine Arts at Concordia University. Residency organized in partnership with Atelier de l’Île.
Edmond Rochette Pelletier
During this residency, Edmond Rochette Pelletier will dedicate his time to a question as simple as it is radical: what if gravity became a sculpting tool?
His project is rooted in an ongoing investigation into movement and the notion of falling. Using handmade stamps — sculptures in their own right — dropped in free fall onto slip-coated clay slabs, he seeks to imprint motion itself into the material: the trajectory, the impact, the unpredictable.
The first days will be devoted to making these ceramic stamps. Then comes the act: dropping, releasing, observing what the fall engraves into the clay. Each mark is unique, each trace a controlled accident. The slabs will then be fired, preserving the living imprint of every gesture.
Stamps and slabs will be presented together as a unified body of work — cause and trace, body and shadow. An alternative way of sculpting, where gravity, not the hand, delivers the final form.
Master’s student in Fine Arts at Concordia University. Residency organized in partnership with Atelier de l’Île.