One of the most precious aspects of my studio work and teaching is the chance to cross paths with other worlds, to see artistic sensibilities unfold up close, and sometimes to let these encounters evolve into a true creative dialogue.
That is exactly what happened with this collaboration with Anne Chrétien, from Illustrations Anne Sea, a local artist based in Waterloo.
I met her through our courses, and I quickly discovered a remarkable talent in her: drawing on porcelain using underglazes. An illustrator by profession, Anne draws her inspiration from the plant world, which she observes with rare tenderness and precision. Her works, of almost striking realism, seem to breathe once transferred onto the ceramic, as if the material itself began to live under her brush. Her work is imbued with a quiet patience and a rigor of attention that commands admiration.
Quite naturally, the idea of collaborating took hold. Anne's approach also left a deep impression on me:
“One day, while I was working at the botanical garden, my boss told me that we can only care for and protect the things we know. That is why I create works of art and stories inspired by nature: I want people to know the natural world, so that they feel inspired to love plants and animals and contribute to the protection of our environment.”
These words resonate with a particular accuracy. Having myself worked in environment and sustainable development before becoming a ceramicist, they touch on something deeply rooted within me. They recall a simple but essential truth: we better protect what we learn to look at, recognize, and love. Art then becomes a bridge, a way to open our eyes to the living world around us.
It is in this spirit that we imagined, together, a collection of fifteen flower-inspired vases. We sat down, chose the species, and then settled on our selection of five sets of three: nasturtiums, zinnias, cherry blossoms, roses, and coreopsis.
The process was built like a conversation between our two practices and unfolded over several months. I threw the pieces, bisque-fired them, and then glazed the inside before entrusting them to Anne. She then applied, with remarkable patience, three layers of underglaze. Every line you see was redrawn three times, stroke after stroke, in an almost meditative gesture.
The pieces then returned to the studio, where I applied a final layer of transparent glaze before the final firing. There is always, at the moment of opening the last kiln, that suspended moment between anticipation and wonder.
What was born from this goes beyond the simple addition of our actions: it is a true encounter. Two artistic languages that intertwine to create something else—unexpected, hybrid, and alive.
For me, these collaborations breathe new life into my work. They shift its meaning, broaden its scope, and open paths that I would not have taken alone. Creating with several pairs of hands is a demanding, yet profoundly precious exercise. It requires listening, trust, and sometimes a letting go. It also reminds me how rewarding it is to cross paths with artists driven by the same desire to bring unique works into being.
This collection will be presented at the studio during the Tour des Arts. Come see us; I look forward to sharing these pieces with you.
