Porcelain, hardware, springs, birch plywood, 144 in x 96 in x 12 in // 366 x 244 x 30cm, 2012
Paysages sismographiques : Porcelain, foam, steel structure, hardware, motors, electronic circuit, microcontrollers, electrical wire, 18 in x 40 in x 27 in for each structure, (variable dimensions for the whole installation) // 45 x 100 x 69 cm for each structure, 2015
Paysages sismographiques : Porcelain, foam, steel structure, hardware, motors, electronic circuit, microcontrollers, electrical wire, 18 in x 40 in x 27 in for each structure, (variable dimensions for the whole installation) // 45 x 100 x 69 cm for each structure, 2015
porcelain, terra sigillata, approx. 30 x 50 x 50 cm each, 2016
Digital print on photo rag paper, 31 in x 23 in // 79 x 58 cm, 2016
vitreous china, glaze, 24 in x 24 in x 2,5 in // 60 x 60 x 5 cm, 2017
vitreous china, glaze, 12 in x 12 in x 10 in each // 35 x 30 x 20 cm each, 2017
vitreous china, glaze, 14 in x 22 in x 22 in // 35 x 55 x 55 cm, 2017
vitreous china, glaze, 10,5 in x 9 in x 5,5 in // 27 x 23 x 17 cm, 2017
vitreous china, glaze, 10,5 in x 9 in x 5,5 in // 27 x 23 x 17 cm, 2017
Artist Statement
Porcelain, this material considered immutable over time, is at the foundation of my research. Through representation of iconic signs and technological manipulations, my work evokes the cycle of transformation of this material and a perpetual slippage of meaning in the perception of natural phenomena. I start with the premise that before its firing, clay is a soft material that can be perpetually transformed if it stays wet. The process of firing renders this material stable and permanent, thereby conserving its characteristics of immutability. My explorations with this material have led me to develop different strategies for unsettling the inherent characteristics of ceramics and suggesting that this material could collapse again into a soft state. My sculptures and installations are hence proposals of potential movements in this material considered immutable. Using different approaches, I activate ceramics to create sculptures and installations that suggest a perpetual slippage of meaning in language and in the perception of natural phenomena.
-- Amélie Proulx
Bio
Amélie Proulx is a multidisciplinary artist living and working in Lévis, Québec, Canada. She is interested in the possible shifts of meanings in language and in the perception of natural phenomena. She received a BFA from Concordia University in Montreal (2006) and an MFA from the Nova Scotia College of Art and Design University in Halifax (2010). Her artwork has been presented in solo and group exhibitions in Canada, the United States, Australia, Scotland and France. In 2013, she received the RBC Emerging Artist People’s Choice Award at the Gardiner Museum in Toronto, and the Winifred Shantz Award for Ceramics in 2016. She has participated in several residencies, notably at the Frans Masereel Centrum (Belgium, 2006), the European Ceramic Work Centre (The Netherlands, 2014) and the arts/industry residency at Kohler Co. (Wisconsin, 2017). She teaches ceramics and visual arts at the Maison des métiers d’art de Québec and at Cégep Sainte-Foy. She is represented by Galerie 3 in Québec City.