Artistes 2026 Artists
[EN] We are happy to reveal the artists from across Canada who have been selected for the 2026 edition of the TerraTerre biennial exhibition of ceramic sculpture, under the theme Fragments. Congratulations! The show will take place April 22 to 26, 2026, at Galerie Voland, in Montreal.
[FR] Nous avons le plaisir de révéler les artistes d'à travers le Canada dont la candidature a été retenue pour l'édition 2026 de la Biennale TerraTerre de sculpture céramique, pour la thématique Fragments. Félicitations! L'exposition aura lieu à la Galerie Voland, du 22 au 26 avril 2026, à Montréal.
Andrew Ackerman (Callander, Ontario)
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| Patency 1 |
Patency 1 (2025; 500$)
Patency 1 is a ceramic sculpture of an intravenous bag decorated in blue on white floral patterns. Created during a residency at the Guldagergaard International Ceramic Research Centre (Denmark), it was inspired by Ackerman’s experience with open heart surgery in the spring of 2021. The IV bag was a constant companion throughout his medical journey, as his surgery coincided with the COVID-19 pandemic. Thus, much of Ackerman’s recovery was spent in isolation, only briefly interrupted by visits from medical staff to attend to his IV bag. The object became a poignant symbol of his mortality, the care that was extended to him, and the fleeting moments of connection he shared with hospital staff.
The decorative surface pattern has associations with notions of comfort, care, and the familial. Upon close inspection, sections of the pattern appear to fragment, dissolve, or erode, representing those elusive moments of connection, the failure and breakdown of Ackerman’s physical body, as well as his separation from family and friends.
About the artist: Andrew Ackerman’s practice is situated in sculpture and extended media, employing a variety of material-based approaches, ranging from modelling and casting to wood and metal fabrication. He also maintains a collaborative and interdisciplinary installation practice that explores spatial, tactile, visual, and embodied experiences. Ackerman is an Associate Professor in the Fine Arts/Visual Arts program at Nipissing University, where he teaches courses in sculpture, interdisciplinary studio practice, drawing, painting, and anatomy. He holds a BFA from York University and an MFA from the New York Academy of Art.
www.instagram.com/andrewackermanstudio
Marzi Alimo (St. Catharines, Ontario)
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| IMM 0008 (detail) |
IMM 0008 (2025; 8,000$)
IMM 0008 is a wall installation composed of portraits and body details embedded into red clay bricks, arranged in a deliberately irregular formation. Each brick contains a short narrative, the ordinary fragment of a migrant's everyday life while looking for a place to call home. The scattered memories form a structure built from incomplete stories. IMM 0008 approaches bodily fragmentation not only as a lived condition of migration, but as a shared human wound. Through these pieces, she hopes to create a space where individual stories gather into a larger narrative.
About the artist: As an immigrant to Canada, Marzi Alimo expresses her experiences through ceramic sculpture to evoke emotion, promote empathy, and spark conversation. Her journey has been challenging and transformative; she has often felt suspended between two places, an outsider in her new home even while slowly losing touch with her motherland. Adapting to a new culture, language, and way of life has felt like replanting a tree in unfamiliar soil, a process of slow rooting and fragile growth. Joy, loneliness, loss, and hope coexist, shaping a fragmented sense of home, identity, and belonging. Through this project, Marzi shares these experiences through figurative, surreal ceramic works that speak to the layered experience of migration. Marzi Alimo holds a Bachelor of Craft and Design from the Art University of Kashan, Isfahan, Iran. A member of the Niagara Artists Center in St. Catharines, Ontario, she was awarded a FUSION Scholarship in 2025.
Célia Beauchesne (Montréal, Québec)
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| Grotto Mosaic I |
Grotto Mosaic I (2025; 1,650$)
Un assemblage en évolution se déploie, formant un écosystème dynamique inspiré par le jardin, vu lors d’une saison indéfinissable et à mi-chemin vers le monde sous-marin. Des fleurs glacées, des coquillages cristallisés, des ammonites irisées, des spirales cratérisées et des formes végétales imaginaires surgissent, étranges mais familières, sans intention mimétique.
Plutôt que de représenter la nature, l'œuvre permet aux matériaux et aux techniques de révéler leurs propres capacités de transformation. Grotto Mosaic I propose une réalité construite à partir d’éléments concrets transformés en un environnement symbolique et mystique, à la fois imaginaire et ancré dans la matière. Ce monde autre opère selon ses codes et symboles propres, comme une zone d’ambiguïté où se devine une présence cachée.
À propos de l’artiste: Célia Beauchesne détient une maîtrise en arts imprimés de l’Université Concordia, ainsi qu’un un baccalauréat en Arts visuels et médiatiques de l’Université du Québec à Montréal. En 2022 et 2023, elle fut finaliste au Prix Albert-Dumouchel pour la relève. Elle a participé à plusieurs expositions collectives. Récipiendaire de la bourse de production Arprim (2023), elle collabore également avec Arprim en tant qu’artiste-imprimeuse pour le projet À l’affiche. Le travail de Célia Beauchesne figure dans le magazine Espace art actuel (no.133) pour son dossier sur la neurodiversité. Elle a fait partie de la 6e éditon d'Artch à l’été 2023.
www.instagram.com/celia.beau
Jacquie Blondin (Mississauga, Ontario)
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| Quatrefoil III |
Quatrefoil III (2025; 1,200$)
Quatrefoil III is a trio of low-relief panels based on the idea of a four-circle Venn that cannot fully exist. Two panels rotate in stepped offsets, choosing motion over perfect balance. The middle panel stays symmetrical. Overlap zones appear and shift as patterning carries the eye across the surface. In raw red clay, light and shadow make the structure legible. The work stays open-ended, allowing growth in the spaces between pieces.
In a world that splits more with every news cycle, fragments are everywhere. In public life, in families, in friendships. People polarize into camps. Conversations stop mid-sentence. Relationships crack under stress. Blondin's work does not make work to “solve” that, but to understand how connection can still happen without pretending we all agree. Similar to Venn diagrams, the works show overlaps are places where we share and listen, while open areas mark boundaries. Symmetry and repetition create steadiness, while offsets and crossings introduce tension. It is the push and pull of when to support, when to step back, and how to hold it alltogether without falling apart.
About the artist: Jacquie Blondin is an artist, educator, and entrepreneur based in Mississauga, Ontario. She holds a BA from McMaster University and a B.Ed. from Queen’s University. With over 30 years of experience as a Visual Arts teacher and 20 years working in clay, Jacquie now focuses on creating functional and sculptural ceramic work in her home studio, often blending hand building and printmaking techniques into her process. A dedicated member of her local pottery guild, she teaches ceramics classes for adults and youth.
www.jacquieblondin.com
Wei Cheng (Vancouver, British Columbia)
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| Taihu Dream 002 |
Taihu Dream 002 (2026; 1,280$)
Taihu Dream 002 is part of Cheng's exploration of forms inspired by Taihu rocks, aka Chinese Scholar's Stones. Drawing from the porous language of Taihu stones, the form holds space for both presence and absence, allowing materials to gather and rest within its cavities.
Embedded throughout are found objects collected from the North Pacific Cannery National Historic Site. These remnants speak to the layered histories of the site, of daily labour and survival, where Indigenous, Asian, and European communities lived and worked side by side. Gathered within the Taihu-like form, they suggest how landscapes absorb human traces over time, holding stories of work, migration, and coexistence. What remains is not a single narrative, but a shared memory shaped by labour, place, and time.
About the artist: Wei Cheng's practice explores the intersections of cultural heritage, identity, and contemporary art, drawing deeply from her upbringing in China and life in Vancouver, Canada. Grounded in the rich traditions of ceramics, Cheng's sculpture and installation work weave together classical techniques with contemporary forms, found objects, and mixed media. Cheng Wei is a graduate of Emily Carr University, and has received several awards for her work.
www.weicstudio.com
Wendy Corn (Westmount, Québec)
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| The Other Side of Beauty |
The Other Side of Beauty (2026; 750$)
This piece began with an idea about beauty—how we’re drawn to it, how we try to preserve it, and how fleeting it actually is. At first glance, the vase presents what we expect: a composed arrangement of flowers. It reads as whole, controlled, resolved. From the back, however, the form is torn open, exposing what’s usually hidden—the decay, the fragility, the slow, quiet collapse.
This break shifts the piece from something contained into something unsettled. It interrupts the illusion of completeness and turns the object into something partial, something in the process of becoming, or undoing. The scattered petals and broken stems extend that rupture outward. They suggest time, loss, and a kind of quiet aftermath, but they also leave space for interpretation. (This entry will not be juried.)
About the artist: Wendy Corn is a ceramic artist based in Montreal, Quebec, Canada, whose work draws deeply from the intricate beauty of the natural world. Blending hand-building and wheel-throwing techniques, she creates one-of-a-kind pieces that move fluidly between sculptural and functional. Her forms are inspired by the textures and shapes of flora, fungi, and marine life, resulting in ceramics that invite both touch and reflection. Her work has been exhibited and sold at venues across Quebec, including Centre Culturel Georges-Vanier, Centre d’art E.K. Voland, Poterie Foster, and the 1001 Pots annual exhibition in Val-David. Wendy is one of the organisers of TerraTerre.
instagram.com/thelefthandedpotter
Catherine De Abreu (Laval, Québec)
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| Borderline |
Borderline (2018; 1,200$)
Borderline se compose d’une série d’assiettes murales qui reflète l’impulsion humaine à dresser des frontières. Les assiettes agissent comme les pièces d’une carte plus vaste et incomplète, nous invitant à considérer comment la division façonne notre perception de l’espace et de l’histoire. Vues de loin, les six assiettes évoquent collectivement une carte géographique, un point de vue fictif de la Terre.
De près, chacune porte des coordonnées de latitude et de longitude qui révèlent des divisions tangibles créées par l’humain: la Grande Muraille de Chine, le mur de Berlin, la frontière entre les États-Unis et le Mexique. Ces éclats d’histoire humaine, fragments de rivalités passées et présentes, persistent malgré leur rupture, à la fois dans la mémoire et dans l’espace.
À propos de l'artiste: Catherine de Abreu est une artiste céramiste qui évolue dans le domaine de l'art depuis plus de 20 ans. Sa passion artistique a commencé par un amour des techniques d'estampe, qui a mené à l'obtention d'un BAC en arts visuels de l'Université Concordia à Montréal. Après un cours d'introduction en céramique en 2008, elle a suivi un programme de trois ans au Centre de Céramique Bonsecours, également à Montréal. Depuis l'obtention de son diplôme en 2012, elle travaille à temps plein dans le domaine de la céramique en créant des objets d'art de la table et des oeuvres d'expression. Elle dit aimer ce qu’elle fait et se considère immensément privilégiée de parfaire un métier aussi noble. “Travailler avec l'argile me garde humble et ancrée dans le moment présent,” explique-t-elle.
catherinedeabreu.com
Samantha Dickie (Victoria, British Columbia)
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| Feeling Rough Around the Edges (detail) |
Feeling Rough Around the Edges (2026; 750$)
Samantha Dickie employs multiplicity and abstraction to activate a quality of attunement to details in two homes that we live in: domestic spaces and bio spaces. Dickie wonders at and ponders on that which is experienced daily but taken for granted, passed by everyday but unnoticed, looked at but unconsidered, hidden or invisible to the human eye
Feeling Rough Around the Edges is precarious, battered and bruised, and holding on by a thread. Deformation, disintegration, fissures, portions and empty space in the works highlight that which is missing, confused or twisted as a site for provisionality and potentiality. These abstracted forms can be seen as tools, objects or bodies; all of which celebrate that which may be broken or misshaped, yet remain strong and tenacious in their uniqueness. The parts do not make up the whole: the parts stand as wholly unique expression.
About the artist: Samantha Dickie is a ceramic artist established on the unceded West Coast territory of Vancouver Island’s Lekwungen people. She received her BA in Gender Studies and Indigenous Studies, followed by her Diploma in Craft and Design in Ceramics (and is currently pursuing her MFA studies). She has attended artist residencies in France, China, Yukon, and Alberta. Her minimalist abstract sculpture and architecturally scaled, multi-component installations have been featured in solo and group public gallery exhibitions across Canada. She has received national and provincial grants, local awards, and been the subject of numerous articles and reviews. Her work can be found in permanent public art collections, private commissions and corporate installations in Canada and abroad.
www.samanthadickie.com
Darren Emenau (Saint John, New Brunswick)
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| Abrasion |
Abrasion (2024; 1,200$)
Darren Emenau’s ceramic practice inhabits the terrain of the fragment—materially, conceptually, and ecologically. Made with locally-sourced clays, potash, silica, shale, and granite, his sculptures emerge from the very landscapes they reference, carrying within them the physical memory of place.
These materials are not neutral; they are remnants, gathered from environments shaped by pressure, movement, and time. Surfaces are marked by fissures, crevasses, voids, and bored-out cavities. These ruptures are not decorative; they are structural interruptions that destabilise the notion of wholeness.
About the artist: Drawing inspiration from the rugged New Brunswick Acadian coastline along the Bay of Fundy, Darren Emenau’s current body of work reflects the geological breakdown of land under the persistent forces of water, wind, and tidal extremes. Emenau has exhibited extensively both nationally and internationally, including Collect Art fair in London, UK, The Craft Biennale in South Korea, and the International Ceramic and Glass Exhibition in Turkey. His solo exhibitions span North America, with his work held in public and private collections globally. His practice continues to be recognised through publications, awards, and grants.
www.mnoclay.com
Stephanie Flowers (Longueuil, Québec)
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| Ecdysis |
Ecdysis (2026; 4,000$)
Artist and Art Therapist Elinor Ulman describes art as "the meeting ground of the world inside and the world outside." Stephanie Flowers sees this same meeting ground reflected in nature. Like art, the natural world reveals only traces of its vast inner workings on its surface. Beneath what is visible are intricate systems of connections that mirror the way art translates what lies beneath consciousness.
What appears disparate within an ecosystem is inextricably connected across multiple timelines: some plants are at the end of their life cycle, while others are only at the beginning. Or the vast fungal networks growing below, promoting both nourishment and decay – bonded to everything from living plants to decaying animals, to fallen trees that lived to be older than our great grandparents. There is a kind of poetry within this level of intricacy, a reminder that what is hidden is always shaping what is seen.
About the artist: Stephanie Flowers is known for her artistic works in porcelain that are minimal, organic and delicate, with a strong focus on form and detail. Her practice is rooted in sculptural and three-dimensional forms, which has expanded to include one-of-a-kind jewellery pieces.
Her work explores the the human body, anatomy, and biology. By translating their poetic and surreal qualities into new forms that are uncanny yet familiar, she hopes to create alternate ways of understanding these subjects.
Stephanie received her BFA in Sculpture & Installation at OCAD University She also holds a minor in Material Art and Design, with a specialisation in Ceramics.
www.stephanieflowers.org
Adrian Golban (Saskatoon, Saskatchewan)
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| Palimpsest I |
Palimpsest 1 (2026; 1,350$)
A palimpsest is in itself a fragment layered upon another fragment – a surface where erasure, rewriting, and accumulation coexist. It explores how memory, identity, and artistic lineage are never singular or intact. Instead, these elements become layered, overwritten, partially lost, partially revealed. They carry traces of what came before, even as they gesture toward what might emerge.
Fragments, whether of ideas, histories, or materials, are not endpoints; they are beginnings. Even what feels exhausted or overused can be refilled, reassembled, reimagined.
About the artist: Adrian Golban’s practice began with a rupture, a fracture between the Traditional Art he’d practiced in Romania and the Conceptual Art landscape he encountered after emigrating to Canada. This shift was not only geographic; it was philosophical. He found himself in a world where the material was often secondary, where the idea eclipsed the object, and where form seemed to dissolve into discourse.
In Romania, clay had never been an endpoint; it had been a transitional material: a model for bronze casting or a sketch for a stone carving. But as migration altered his relationship to materiality, clay became a finished material, not a step but a destination. Golban teaches Clay Sculpture Portraiture at the University of Saskatchewan, while maintaining an independent professional practice.
www.instagram.com/artgolban
Catharina Goldnau (Toronto, Ontario)
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| 5 Dimensions |
5 Dimensions (2022; 850$)
5 Dimensions is constructed from ceramic fragments pieced together in the ancient Japanese technique of kintsugi: coaxing a new, functional object into being. These fragments are intentional and visible, symbolising the formation and growth of meaning, and even of cultures. Cultures themselves are built from fragments of nature, extracted, altered, and reshaped into systems of use and value that organise humankind. The work invites viewers to reflect on the fragmented origins of our built environments, and to consider where a sustainable balance between nature and culture might exist.
About the artist: Growing up in the rural countryside among fields, rocks, lakes, and trees, Catharina Goldnau now works in a large urban centre. Her practice moves between these environments, bringing earthiness into dialogue with fabrication. Clay, as transformed earth, becomes a material bridge between nature and culture, grounding the work while allowing it to question human intervention. Her recent work is guided by three intersecting ideas: breaking with traditional ceramic approaches, the material presence of raw nature, and juxtaposition.
Using hammers and sandblasters, Goldnau introduces force and erosion, echoing natural processes while asserting deliberate, cultural action. The work combines craggy rock forms and engineered porcelain with glazed shiny surfaces. These materials exist in deliberate tension. Meaning emerges in the space between nature and culture, permanence and fragility, tradition and change.
catharinagoldnauceramics.ca
François Grenier (Chatham, Ontario)
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| Cabossé #38 |
Cabossé #38 (2023; 1,400$)
François Grenier aborde le fragment comme une condition plutôt qu’un simple éclat : déplacement, rétention, recadrage. Ses œuvres évoquent la valise, ce symbole de migration, mais en inversent la fonction. Le Cabossé semble transportable, mais résiste au mouvement; il devient un vestige, un fragment de mobilité figé. Ces formes, inspirées des contenants, sont volontairement non utilitaires : sous-cuites et recouvertes de croûtes, elles en bloquent l’accès. Ce refus n’est pas technique, mais conceptuel: il active le pouvoir du fragment (révéler, cacher, déformer) et souligne l’absence.
Cabossé #38 pousse cette idée vers le langage. Son signe central, tronqué (poignée, étiquette, lettre amputée), agit comme un fragment de code: lisible sans être résolu. Le fragment y est un geste de recadrage, une archive réduite à l’indice.
À propos de l'artiste: François Grenier est un artiste céramiste dont la pratique oscille entre abstraction et figuration. L’argile, par sa plasticité et sa résistance, incarne sa vision. Influencé par l’Expressionnisme abstrait et l’abstraction géométrique, son travail explore les tensions entre gestuelle et rigueur.
La recherche matérielle est au cœur de sa démarche : il développe des surfaces céramiques par des méthodes expérimentales, créant des croûtes et des peaux à travers essais, échecs et persévérance. Ces textures, loin des émaux traditionnels, deviennent un langage où la matière parle d’elle-même.
www.francoisgrenierartist.com
Béatrice Hall (Verdun, Québec)
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| 062565 |
062565 (2025; 400$)
Le diptyque 062565 est composé de deux plaques sur lesquelles sont superposées des images sérigraphiées. Ces images sont tirées d’une recherche dans les archives de la famille Hall. Pour Béatrice Hall, utiliser l’archive est une manière de travailler la fragmentation, en utilisant des bribes d’histoire qui transmettent des narratifs inachevés.
C’est un projet qui tire aussi son inspiration de la pierre tombale. Son but était d’aller au-delà de la fonction première de la tombe et de s’inspirer de ses divers codes et symboliques. Le diptyque 062565 présente deux objets ambigus qui véhiculent une histoire et une atmosphère. Ces images, des portraits de son père, nous transmettent un univers qui se découvre par bribe. Les plaques sont accrochées l’aide de crochets et de clous soudés à la main et puis rouillés. La patine du fer évoque et porte le passage du temps, les deux pièces entrant alors en dialogue avec leur dispositif d’accrochage.
À propos de l'artiste: Béatrice Hall détient un Baccalauréat en art visuels de l’Université du Québec à Montréal. Guidée par la nostalgie et la mémoire, sa pratique a comme volonté de préserver le caractère éphémère de la vie, tout en évoquant des thématiques reliées au souvenir.
Elle puise son inspiration dans des images d’archives familiales, dans son quotidien, ou encore dans son journal intime, transposant le tout de manière tangible en embrassant flous et amalgames. Une volonté de trouver de nouvelles manières de réinventer l’album photos ou encore d’immortaliser certains moments l’habite.
Laura Huchet (Outremont, Québec)
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| Magasin de souvenirs |
Magasin de souvenirs (2023; 1,250$)
Magasin de souvenirs aborde le fragment comme forme sensible de la mémoire et comme condition de la transmission. L’œuvre rassemble 48 cartes postales en porcelaine, cuites au gaz, disposées sur un présentoir rotatif. Chaque carte porte un éclat de récit: un moment de vie raconté par la grand-mère de Laura Huchet lors d’entretiens guidés, puis transposé dans l’argile par un travail de traduction entre parole et matière.
La carte postale est en soi un fragment: elle isole un instant, un lieu ou une émotion sans jamais en restituer l’ensemble. Ici, elle devient le médium d’un dialogue à distance entre Laura Huchet et sa grand-mère, qu'un océan sépare. Le présentoir rotatif accentue cette tension. Évoquant un dispositif marchand, il transforme ces fragments intimes en objets exposés, circulant sous le regard du public. Entre vulnérabilité et mise en visibilité, les souvenirs oscillent.
À propos de l'artiste: Laura Huchet est une artiste céramiste basée à Montréal. Diplômée en 2022, elle travaille depuis dans le domaine, entre l’enseignement du tournage et l’assistanat en atelier. Formée en anthropologie, elle aborde la céramique comme un champ de recherche, nourri par l’observation, le dialogue et l’attention portée à la culture matérielle. Inscrite dans une perspective féministe et anticapitaliste, sa pratique cherche à donner place à des réalités discrètes, à des gestes quotidiens et à des objets modestes, envisagés comme des réceptacles de mémoire et d’affects. Elle développe ainsi une esthétique de l’intime, attentive aux existences silencieuses et à la poésie de l’ordinaire.
Asmae Laraqui (Montréal, Québec)
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| Ce qui renaît |
Ce qui renaît (2023; 1,050$)
Asmae Laraqui assemble des matériaux qui ne devraient pas coexister : porcelaine et fibre, porcelaine et métal, porcelaine et cristaux. Elle ne cherche pas l’accord, mais l’impact. Ce qui l’intéresse, c’est la collision entre leurs mémoires, leurs réactions, leurs temporalités. Les formes qui émergent de son travail prolifèrent, se contractent, se fragmentent. Elles évoquent des organismes qui persistent malgré la rupture, des structures qui se recomposent à partir de ce qui a cédé.
Asmae Laraqui ne cherche pas à imiter le vivant, mais à activer sa logique: celle d’un monde où tout se construit par couches, par effondrements, par renaissances successives. Rien n’y est stable; même ce qui semble figé continue de réagir.
À propos de l'artiste: Asmae Laraqui est une artiste visuelle multidisciplinaire née au Maroc et basée à Montréal. Elle est titulaire d’un baccalauréat en arts visuels à l'Université Concordia. Son travail a été exposé dans des expositions individuelles et collectives à travers le au Canada et au Portugal, marquant sa présence sur la scène artistique contemporaine.
Ses œuvres ont orné diverses galeries, capturant l'essence de sa vision. Au-delà de ses expositions, elle partage passionnément son amour pour la céramique, animant des ateliers de médiation artistique dans son studio du Mile-End, où elle cultive un espace dynamique de création, de communication, d'engagement communautaire et de dialogue interdisciplinaire.
www.asmaelaraqui.art
Lysanne Larose (Montréal, Québec)
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| Tire-toi une bûche / Pull Up A Log |
Tire-toi une bûche / Pull Up A Log (2026; 2,500$)
Cette œuvre évoque la famille qu'on a choisi, la quête pour trouver sa tribu ou encore le sentiment d’appartenance qui se tisse au sein d'une communauté. Chaque membre peut être très différent des autres, venir d’horizons variés, et pourtant, les voilà réunis, chacun comptant sur les autres. Sa forme circulaire reste néanmoins ouverte: l’ouverture est une invitation pour quiconque souhaiterait rejoindre l'ensemble. Il y a une place pour vous dans ce cercle, autour de ce feu de camp métaphorique.
Alors, bienvenue: tirez-vous une bûche et assoyez-vous. Confiez un souvenir, partagez un brin de sagesse, lancez une blague ou fredonnez une chanson. Dans une société fragmentée, où les gens sont de plus en plus isolés les uns des autres, savoir qu'on a sa place quelque part est profondément réparateur. (Cette œuvre n'est pas éligible au jury.)
À propos de l'artiste: Lysanne envisage sa pratique sculpturale comme un acte de résistance: résistance aux surfaces lisses et stériles de la vie contemporaine, résistance aux algorithmes oppressifs et aux paradis artificiels, résistance à la standardisation et monétisation de toutes les facettes de l'existence humaine. Ses œuvres ont été incluses dans des expositions collectives à Espace Pop, Galerie Erga, Galerie Foster et l’exposition annuelle 1001 Pots. Son exposition solo d’un mois, Les Erratiques, a été présentée à la Galerie Foster en mars 2025. Elle est l'une des organisatrices de la Biennale TerraTerre.
www.atelierlarose.ca
Sophie Manessiez (Sutton, Québec)
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| Ce qui nous traverse |
Ce qui nous traverse (2025; 1,800$)
La pratique de Sophie Manessiez s’articule à travers l’assemblage d’éléments de porcelaine façonnés individuellement, reliés par une structure de fils selon une technique de tissage. Chaque pastille constitue un fragment autonome: une forme simple, répétée, marquée par la main, la cuisson et les variations de texture. L’ensemble se construit dans un équilibre sensible, où la cohésion émerge de la juxtaposition et de la relation entre les éléments.
Ce qui nous traverse s’inscrit pleinement dans cette recherche autour des traces fragmentaires qui demeurent. Certaines pastilles portent la trace d’un mouvement fluide dans la barbotine, une texture qui traverse partiellement la surface avant de s’interrompre ou de se déplacer. Ces traversées évoquent les émotions, les expériences et les états qui nous habitent: elles laissent des fragments de marques, créent des reliefs, des creux, des tensions et des élans. Le fragment devient alors le lieu d’une inscription sensible, où ce qui passe, ce qui reste et ce qui se transforme coexistent.
À propos de l'artiste: Sophie Manessiez est une céramiste dont la pratique s’articule autour de la porcelaine comme structure sensible. Son travail prend la forme de compositions murales et sculpturales où les unités dialoguent entre elles, créant des structures à la fois délicates et rigoureuses. La porcelaine lui permet d’explorer un équilibre subtil entre finesse et tension, entre légèreté apparente et solidité structurelle. À travers ses œuvres, elle interroge les liens visibles et invisibles qui structurent les systèmes vivants et les relations humaines.
sophiemanessiez.com
Laure Masson (Montréal, Québec)
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| Anouk |
Anouk (2025; 1,200$)
Anouk est un grand pot illustré dont la surface est entièrement investie par des images imbriquées. Les scènes s’y déploient à différentes échelles: paysages, architectures, personnages nombreux cohabitent et se superposent. Chaque figure est en action, prise dans une micro-histoire.
L’ensemble compose un tissu narratif où souvenirs personnels et fictions s’entremêlent. Ces récits fonctionnent comme des fragments: fragments de mémoire, fragments de rêve, fragments de projections vers l’avenir. Ils ne s’ordonnent pas selon une chronologie linéaire, mais selon une logique d’association libre. Le pot devient un espace où se croisent des temporalités et des registres hétérogènes. 'Anouk', que l'on voit gravé sur le pot, c’est aussi le nom d'un chien, d'un être précieux dans la vie de Laure Masson, qui lui rend ainsi honneur.
À propos de l'artiste: Laure Masson est une artiste céramiste basée à Montréal qui explore l'illustration sur les surfaces de ses contenants. Originaire du sud de la France, elle utilise une terre rouge et des engobes, matériaux qui ancrent son travail dans une mémoire méditerranéenne. Inspirée par l’art populaire, notamment l’art votif catholique et les enluminures médiévales, ainsi que par l’illustration, la peinture et la sculpture contemporaines, Laure crée des œuvres habitées par des personnages, des animaux, des paysages et des objets qui dialoguent et s’entremêlent dans une joyeuse surabondance. Célébrant la poésie du quotidien, son travail oscille entre tradition et liberté formelle, célébrant le vivant, le jeu et la vitalité des relations humaines avec humour et sensibilité.
www.instagram.com/laure_ma_ce
Mindy Moore (Halifax, Nova Scotia)
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| Revolution: Revelation |
Revolution: Revelation (2018; 950$)
Revolution: Revelation was borne out of a series; many balls of clay were thrown on the wheel with the only intention being that the shape be bottle-like. During the process throwing and trimming, the remnants of each step became essential to the overall forms created.
Sometimes those fragments fell off of the piece, but were saved, fired and remain part of the overall assemblage. Remnants may be fragments left behind but they are still an essential part of the whole. The work shows the evolution from raw to finished (or glazed). Moore chose to leave the many trimmings still attached to one bottle, leaving them unglazed to underscore the tendency to leave items that are remnants or fragmented unfinished. These four pieces, however they are glazed or unglazed, form a complete set.
About the artist: Educated at Syracuse University’s College of Visual and Performing Arts (BFA, Ceramics) in NY, then continuing to study in New York City, Mindy Moore has been directly influenced by Henry Gernhardt, David MacDonald, James Makins, Betty Woodman and Byron Temple, who guided her journey. In 1987, Mindy relocated to Halifax, Nova Scotia, with her husband, photographer Marvin Moore, where she has maintained a home studio. She was instrumental in establishing the art program at the Shambhala School in Halifax and for 23 years taught art to students in grades 6-12. She retired in 2022, allowing her to return to the studio full-time.
mindymoore.ca
Nancy Oakley (Eskasoni, Nova Scotia)
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| Evanescent |
Evanescent (2026; 1,200$)
Evanescent explores memory, time, and impermanence. After bisque, the work is smoke fired outdoors, which allows smoke to speak through the clay. These atmospheric traces become quiet records of the firing, allowing smoke to settle into the clay the way memories settle upon us by lived experience. The small tiles hold moments in time, fragments of memory that surface and fade.
Evanescent refers to what disappears or is fleeting, echoing the sensation of remembering something that cannot be fully held or preserved.Each tile is sewn together with sweetgrass, an aromatic plant traditionally used in First Nations cultures for purification and ceremony. The act of stitching becomes a gesture of care and connection, binding memories together. This work reflects the fragile act of holding memory while acknowledging their fragility and transience.
About the artist: Nancy Oakley is a Mi’kmaq/Wampanoag artist. Nancy’s artistic journey embodies the richness of Indigenous heritage and a deep connection to the land. Through hand shaped softly curved pottery vessels, Nancy creates culturally significant pieces that imbue her traditional knowledge and honours her role as a woman, mother and grandmother. In an intrinsic collaboration with Mother Earth, Oakley’s expression of knowledge, feelings, and experiences can be seen in the processes of her pieces.
www.oakleavesnativecreations.com
Benjamin Oswald (Edmonton, Alberta)
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| At Some Point It Started |
At Some Point It Started (2026; 5,200$)
Ceramic history provides a language for the vessel as a location for containment, function, and continuity. Oswald intentionally resists this by physically cutting open and fragmenting the vessel. This disruption of function draws attention to a deeper journey inside to contemplate what is missing and the instability of meaning that might follow.
Light enters and exits Oswald’s work through seams and cuts, activating interior spaces and transforming voids into sites of both construction and introspection. These openings invite viewers to linger and look into something that might be unresolved or quietly organising. In opening up the form, he allows the interior space of the work to speak, not as a location of loss, but as a place for reflection.
About the artist: Benjamin Oswald is drawn to moments where the surface of a form is interrupted and opened revealing pieces or fragments that are, or might be, contained within. In this way, ceramic vessels become primary tools for questioning containment itself. Bridging ancient craft and digital innovation, he construct vessels using traditional techniques like wheel throwing, handbuilding, slipcasting and the historic European jarre à la corde.
These traditional practices are then recontextualized through contemporary methods such as CAD modeling and CNC fabrication to create vessels that are then cut, split, or opened. These interventions expose the hidden architecture within: interior voids defined by rope impressions, skeletal frameworks, and hidden geometries.
www.benjaminoswald.ca
Coral Patola (Mount Currie, British Columbia)
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| Midwinter Banner |
Midwinter Banner (2025; 800$)
Storytelling shapes Coral Patola's life and how she experiences the world. First-hand experiences, like her father pretending to eat a worm and then accidentally doing so, her mother's family lore, her grandparents' classic folktales, all intermingle to make her personal history into legend. Making new stories, rewriting memories, and choosing how to tell these stories is an empowering practice of agency and reclamation, she explains. Patola has sought escapism and belonging in the world of fantasy, where intense emotions didn’t feel out of place, and where cultures could freely mix in a way not represented in reality. In a fantasy realm, however, disparate things could all coexist in peace. In creating a world where mixed-identities don’t feel othered, she creates the world she could have had during her childhood.
About the artist: Pushing beyond the boundaries of her equipment, working with a smaller kiln and her body’s physical ability, Coral Patola creates modular pieces to build up the whole of her sculptures. Conceptually, fragmentation is a commonality most people of mixed-identity navigate. Her work explores the complexities and intersectionality of her identity, the immigrant culture of Chinese Canadians, the southeast Asian diaspora of Singapore and Malaysia, and her paternal Ukrainian heritage. Coming from this background, she explores a sense of severance, relating to cultures in a piecemeal and disjointed way. Diasporic art directly relates to this sense of loss and, in turn, the creation of something new. Patola births creatures that are as fractured and mixed as her identity. Coral Patola has a BFA from Emily Carr University. She recently completed residencies at Shadbolt Centre for the Arts, Watershed, and Red Lodge Clay Center, among others. Her work has been supported by the Canada Council for the Arts.
www.instagram.com/pitonpottery
Jean Paull (Delta, British Columbia)
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| Partial Recall |
Partial Recall (2026; 1,300$)
In this piece, Jean Paull investigates discarded ephemera and shards of heirloom chinaware not as broken residue, but as legitimate formal and conceptual elements of contemporary ceramic practice. The nature of ceramics is inherently archival. As Paul Mathieu notes, fired clay is among the most persistent of materials, serving as a durable record of culture. Yet, this durability is coupled with fragility; the history of ceramics in museum practice is largely a history of interpreting shards.
Paull approaches paper ephemera through the same lens; orphaned postcards and faded photographs are treated as shards, separated from the context of a complete story but suggesting a partial narrative open to imaginative extension. Through re-contextualization, the parts move beyond their role as static artifacts and become devices for contemporary storytelling. Meaning is created through the negotiation of these pieces, reflecting the fluid and reconstructive nature of memory and history itself.
About the artist: Jean Paull is a Canadian ceramic artist who maintains a solo practice from studios in South Delta and Mission, BC and whose work reflects a deep commitment to craft and creative exploration. Holding a Master of Science and Bachelor of Arts, along with studies in photography and design, she brings a multidisciplinary perspective to her practice. Her ceramics expertise has resulted in award-winning pieces featured in juried exhibitions across Canada and the United States.
jeanpaull.com
Daria Pelsher (Montréal, Québec)
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| Спасибо |
Спасибо (2026; NFS)
Ce masque sonore a été créé en réponse au thème de TerraTerre, Fragments. La pièce émerge d'une réflexion de l'artiste sur la relation entre son esprit conscient et ses sous-personnalités. Intégrant un sifflet qui donne vie à l'une de ces voix intérieures, le masque symbolise une partie protectrice de son psyché qui la garde contre une autocritique souvent implacable. Il incarne la voix aimante et encourageante que Daria a reconnue comme ressemblant fortement à celle de sa mère.
Спасибо, prononcé « spasibo » exprime la gratitude qu'elle ressent envers sa mère, qui lui a donné la force et le courage de devenir artiste malgré la distance qui les sépare. Le design du masque s'inspire d'une image féminine, ancrée dans la nature et nourrissant la créativité. Ses dessins font référence au Gzhel, une technique traditionnelle russe de peinture sur porcelaine, agissant ainsi comme un fragment du code culturel qui définit en partie l'identité de l'artiste.
À propos de l'artiste: Daria Pelsher est une céramiste originaire de Saint-Pétersbourg, en Russie, où elle a commencé sa formation en sculpture dès son plus jeune âge. Ayant travaillé comme artiste 2D dans l'industrie du jeu vidéo et comme motion designer et animatrice dans celle du cinéma, elle a renoué avec sa passion première pour l'argile et est revenue à ses racines sculpturales en 2024.
Dans ses œuvres, Daria explore l'identité, la mémoire et son héritage culturel. Son travail brouille la frontière entre le jeu fonctionnel et l'expression artistique, présentant des créatures siffleuses pleines de fantaisie comme des sculptures raffinées.
www.instagram.com/pelsher
Jai Sallay-Carrington (Vancouver, British Columbia)
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| Too Exposed |
Too Exposed (2025; 1,800$)
The sense of self for trans and queer people is often fragmented into pieces that don’t align until fully understood. Because these identities defy societal norms, their shapes and connections require exploration, as unfinished fragments can’t form a whole. Many in 2SLGBTQ+ communities hide parts of themselves to blend in, leaving their identity incomplete until those pieces are acknowledged and embraced. Only then can queerness and transness become part of a unified, cohesive self. These identities are vital, shaping lives in profound ways, yet they remain just fragments until accepted.
The journey to wholeness begins when every piece is seen, valued, and integrated. Jai’s sculptures capture this feeling of otherness, not through visible traits but through the unseen layers of identity. Their chimeric creatures, each with unique myths and qualities, reveal hidden aspects of character and experience. By blending animal and human, Jai illuminates what lies beneath the surface, offering a deeper understanding of individuality and the complexity of self.
About the artist: Jai Sallay-Carrington is a figurative ceramic sculptor creating works about human identities, behaviour, and emotions. Reflecting on their queer and transgender identity, Jai uplifts 2SLGBTQ+ communities while challenging heteronormative and cisgendered societal structures. Their sculptures question how gender, sexuality, and desire shape identity and cultural belonging.
jscreatures.com
Sophie Saragosti (Montreal, Quebec)
Naama (2026; NFS)
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| Naama |
Naama is a portrayal of rupture and resilience. Built slowly by coiling, the form suggests a human body with a hollow where the heart should be. Inside, a small bulb illuminates two Hebrew words: “broken and whole”. Process is central to the work’s meaning: after being formed, the piece was weakened along specific lines, broken apart, and then stitched back together with wire. The fractures remain visible; the scars are intentionally unconcealed. They speak to what has happened and become part of the piece’s identity.
Repair does not restore the original form; it creates a new one, permanently shaped by loss and survival. This piece reflects Saragosti’s experience over the past three years of living as a Jewish person grounded in humanistic ideals. Believing deeply in peace, compassion and the equal humanity of all people, Saragosti has felt her identity and grief dismissed after October 7th, as though the Jewish experience no longer counted in spaces she had once trusted. While the experience has fractured her worldview, she explains that she does not want to remain in grief or anger.
Naama stands as a witness to loss and resilience, and to the ongoing act of repair that keeps us connected to one another in a fractured world. Even a thin thread of light can keep us from surrendering to the dark.
About the artist: Sophie Saragosti is an elementary school teacher in Montreal, and an emerging ceramicist.
Charlotte Saulnier (Montréal, Québec)
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| Monument intime: Maman |
Monument Intime: Maman (2025; 2,500$)
Monument intime: Maman explore le traumatisme et la guérison transmis de génération en génération. De loin, la surface de la sculpture semble calme et uniforme. En s’en approchant, des visages émergent subtilement de la glaçure sombre, comme des présences discrètes, porteuses de charges émotionnelles.
Les mains superposées au sommet de l’œuvre tiennent la lumière avec douceur, évoquant le soin, la protection et la possibilité de transformation. Cette pièce réfléchit à ce qui se transmet, autant la douleur que la résilience, et à l’idée qu’un renouveau peut exister au terme de ce parcours.
À propos de l'artiste: La pratique en sculpture et en céramique de Charlotte Saulnier prend forme dans un cadre proche et partagé: celui de l’école et de sa communauté. Elle y explore le corps, la matière et la transmission comme des lieux profondément humains, sensibles et relationnels.
Charlotte Saulnier détient un Baccalauréat en beaux-arts de l'Université Concordia, où elle travaille comme technicienne adjointe dans les ateliers de sculpture.
www.instagram.com/charlotte_saulnier_ceramique
Nicole Schouela (Vancouver, British Columbia)
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| Gender Reveal |
Gender Reveal (2023; NFS)
Nicole Schouela’s ceramic compositions begin with the act of collecting materials left behind on the beaches of British Columbia. Quiet walks, punctuated with pausing and picking up and discarding, and occasionally being rewarded with a special find. Much like the memories that saturate a piece of jewellery handed down from generation to generation, a tree branch smoothed by time, a rusty object, a stone with an evocative shape, a punctured shell, or a remnant of rope, all these discoveries carry within them their own memories and histories.
Laid out on a table, these finds become tools to work with and consider,. They also serve to connect the artist to the place where she found it, and the environment that it once lived in. By integrating these fragments of time with hand-fashioned ceramic pieces, the work that emerges is a tribute to the interconnectedness of what we can fashion with our own hands, and what our environment generously offers us.
About the artist: Nicole Schouela’s was born in Milan, Italy, and grew up in Montreal. She moved to San Francisco as a young adult, where she worked as a modern dancer and teacher for many years. After moving to Vancouver, she earned a degree in art from Emily Carr Institute. She continues to pursue her passion for art making. Her practice encompasses ceramics and sculptural constructs, digital and mixed media, and photography.
www.nicoleschouela.com
Rachel Schwartz (Montreal, Quebec)
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| Fragmented Circles |
Fragmented Circles (2025; 750$)
Fragmented Circles investigates fragmentation not as the aftermath of loss, but as an active material and conceptual state. Each fragment is treated as a self-contained event that resists reassembly into a unified whole, while remaining in relation to the others. Circular forms recur throughout, but never resolve into wholeness. Discs are split, incomplete, or interrupted, resisting closure and symmetry.
Circularity becomes a compromised structure, suggesting endurance under strain rather than perfection. Instead, the parts are in an ongoing negotiation between breaking apart and holding together, inviting reflection on how material, much like experience, absorbs pressure and retains traces of transformation over time.
About the artist: A McGill Economics & Commerce graduate and a self-described "drop-out architect", Rachel Schwartz started her first design company as a teenager and has been a creative entrepreneur ever since. Recently she has shifted her professional focus to philanthropy and allows pottery to dominate as her creative outlet. She says that she hopes to leave her little corner of the world a better place with a few beautiful things as a legacy.
www.instagram.com/rachelschwartzpottery
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| Remnant |
Erin Skelton (Verdun, Quebec)
Remnant (2025; 1,300$)
Erin Skelton's practice is a mapping of both the visible and hidden aspects of the natural world and the self, guided by curiosity and the quiet alchemy of material transformation. Centered in ceramics, Skelton's work seeks to represent the interior and exterior landscapes we inhabit, shaped by the textures, colors and rhythms of our living environments. Rather than beginning with preconceived images, forms emerge organically, unearthing what has yet to be named or understood. At the core of this process lies experimentation and unpredictability, creating a space where forms grow naturally. It is here, in the space between intention and chance, that the work takes shape, where unpredictability acts as a catalyst for discovery. Working through sensation rather than thought, the work is allowed to unfold with minimal hesitation.
After firing, Skelton often cuts into or break open forms, extending the process through acts of deconstruction. Installation and presentation offer further opportunities to recontextualize the work and examine how meaning shifts through placement, fragmentation and spatial relationships. These gestures deepen ongoing investigations into emotional states, inner and outer landscapes and the environments we inhabit.
About the artist: Erin Skelton holds a BFA in Ceramics from Concordia University and a diploma in pottery from Selkirk College. She completed residencies at Medalta and Watershed in 2025. She is the recipient of grants from both the Canada Council for the Arts and the Conseil des arts et des lettres du Québec.
www.erinskelton.ca
Gabriella Sperer Scope (Hamsptead, Quebec)
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| Assortment 2 |
Assortment 2 (2026; 1,300$)
In Assortment 2, the vessel is transformed into the imagined, inviting the viewer to find meaning in the gaps and beauty in the fractured. Mixing free forms inspired by geographic markers, this work investigates the intricate relationship between the fluidity of water and the complexity of human emotion. The composition is an assembly of disparate parts (reimagined glacier formations) rearranged to challenge the viewer's perception of wholeness. Glacier fragments serve as elusive physical remnants that gesture toward a lost or hidden totality. Whether through natural erosion, environmental interruption, or intentional disassembly, these forms function as conduits for memory and identity.
(This entry will not be juried.)
About the artist: Gaby’s work is grounded in the vessel form, which she uses as a medium for storytelling and communication. Her pieces explore environmental, political, historical, and folkloric themes, often centred on water, both in its physical and spiritual dimensions, as well as geography, mythology, and symbolism. The surfaces of her work are intentionally textured to evoke time, erosion, and memory. At the heart of her creative process is a connection to living history and nature. Gaby holds a BA in Sculpture and Ceramics from Concordia University and completed a residency at the Banff Centre for Arts and Creativity. Her work has been exhibited nationally and internationally in both group and solo shows. Gaby is one of the organisers of TerraTerre.
www.gabyscopeceramics.ca
Silvia Tagusagawa (Vancouver, British Columbia)
Dione (2024; 1,010$)
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| Dione |
Silvia Tagusagawa’s work centers on the body, particularly the feminine body, as an archive of experience shaped by cycles of care, displacement and renewal. Moving between countries deepened her understanding of fragmentation as both a condition of belonging and a process of self reconstruction.
Cultural memory emerges through partial forms, gestures and sensorial traces rather than complete narratives, positioning fragments as carriers of history and transformation. Structures like petals, folds, corals and anemones unfold as hybrid forms that suggest both growth and vulnerability. Incompleteness becomes a generative condition, enabling adaptation and regeneration, transforming broken pieces into sites of possibility rather than loss.
About the artist: Silvia Tagusagawa is a Brazilian-born ceramic artist based in British Columbia. Her work is influenced by her Japanese heritage and rooted in her grandparents' immigration to Brazil during the interwar period. This rich background infuses her art with a harmonious blend of Japanese aesthetics and Brazilian vibrancy, reflected in her meticulous attention to detail and deep appreciation for natural beauty and impermanence
Tagusagawa holds both a master's degree and a doctorate in Visual Arts from the University of São Paulo, Brazil. She has participated in group and individual exhibitions, as well as international ceramic art competitions. In 2021, she moved to Canada, where she resumed her artistic pursuits, enabling her to integrate her personal experiences with her artistic practice.
www.silviatagusagawa.com
Maria M. Torres (Montreal-West, Quebec)
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| A Walk in the Park |
A Walk in the Park (2026; NFS)
A Walk in the Park explores the shifting nature of memory through a grouping of ceramic figures—some human, others animal. These figures do not follow a single, linear narrative. Instead, they exist as impressions gathered over time, layered and reassembled in the act of remembering.
What begins as a mundane walk in a park unfolds into something far more complex. Each figure holds a partial memory, a fleeting sensation, or a moment once perceived but not fully understood, open to interpretation. Memory does not preserve experience in sequence; it compresses, distorts, and rearranges. In this work, recollection becomes a process of contraction, where disparate moments fold into one another.
In A Walk in the Park, the act of reconstructing a memory is reimagined as an assemblage, where impressions, once scattered, are threaded together to transcend their separateness, forming a story that is less about what happened, and more about how it is held, reshaped, and felt across time.
(This entry will not be juried.)
About the artist: Maria M. Torres is a Montreal-based ceramic artist originally from Venezuela. Following the Latin American tradition of storytelling, she constantly explores various ways to tell a story through her sculptures. The narratives often touch on themes of folklore, history and family. Although her work may appear playful, it frequently addresses deeper issues related to women, immigration, and the absurdity of the times. She holds a BFA from Concordia University with a concentration in Studio Arts. Maria is one of the organisers of TerraTerre.
instagram.com/mmtorres141
Marlene Zagdanski (Toronto, Ontario)
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| Jewelweed |
Jewelweed (2025; 3,000$)
Jewelweed draws from Zagdanski's recurring, fragmented and sensory-laden childhood memories of encountering this common plant during solitary explorations along the cool, dark, damp and loamy edges of Laurentian woodland trails.
The work reimagines fleeting visual phenomena – water beading on leaves and their silvery transformation when submerged – through reflective glazes and shifts in form. The work acts as a site of recall, reconnecting Zagdanski to the landscape of her childhood summers.
About the artist: Marlene Zagdanski is an emerging ceramic artist based in Toronto. Her work transcribes personal responses evoked by the natural and built environments, and the human form. The sculptural forms she creates function as drawings or paintings in space, crystalized through material exploration that also feeds her interest in pushing the limits of the media, allowing chance to exist through the firing process. Marlene obtained a BFA from Concordia University before pursuing a non-arts related degree and career. In 2015, she joined and completed the final year of Sheridan College’s Crafts and Design Diploma Program, signalling her return to the arts. In 2016, she completed a residency at the Guldagergaard International Ceramic Research Centre, Denmark. Her work has been exhibited at, among other venues, the Gardiner Museum of Ceramic Art, The Craft Ontario Gallery, The Apple House Gallery (Denmark) and the Burlington Art Gallery.
www.marlenezagdanski.com
