Véronique Martel
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All photo credits are attributed to: Étienne Dionne.
Véronique Martel, featured in AQ Volume V, is a ceramic artist living and working in Quebec City, Canada. She obtained a Bachelor’s degree in Visual Arts from Laval University in 2004, followed by technical training in craft trades, with a focus on ceramics, at Cégep Limoilou in 2007. In addition to her artistic practice, she has been teaching ceramics at the Maison des métiers d’art de Québec for seventeen years, sharing her expertise with aspiring artists and helping them develop their skills. She is also involved in various collaborative projects with other artists and institutions, fostering a dynamic and creative community in the region.
She has been awarded several grants and prizes, notably from the Conseil des arts et des lettres du Québec, for the creation, production, and dissemination of the exhibition Forêt sur amphores (2023). Her work has been presented in numerous solo and group exhibitions across Canada and abroad. Among her recent accomplishments are solo exhibitions at the Alberta Visual Arts Centre (2019), the La Sarre Art Centre in Abitibi-Ouest (2022), Materia Centre in Quebec City, and the Bonsecours Ceramic Centre (2024).
https://www.veroniquemartelceramicart.com
What sparked your interest in becoming an artist?
Since my childhood, my parents have always encouraged my creativity. One memorable experience was my first encounter with clay at the ceramics center in our region. That day, after sculpting a pirate bust, I witnessed a Raku firing. The intense heat, the flames, the smell of wood chips, and, most of all, the transformation of my creation fascinated me. The incandescent pirate was plunged into combustibles and then into water. The thermal shock caused cracks to appear in the glaze, revealing metallic hues and deep blacks. That magical moment, when the clay became a living work, marked a turning point in my imagination.
In a corner of the studio, an experienced modeler was shaping a gigantic horse, his hands molding the clay with impressive skill. That’s when I had a revelation: I wanted to become an artist. This encounter marked the beginning of a vocation that has never left me.
Although I wasn’t fully aware of the boldness of my choice at the time, one certainty remained: art would be my language, my way of existing. Since then, this passion has remained at the heart of my journey. I am an artist.
What themes are you exploring in your work today?
Inspired by the tropism of plants, my work metaphorically expresses the ability to rise again after trials and to demonstrate a combative spirit. My previous bodies of work have dealt with issues of self-expression: distress and the aphonic cry. Today, stronger, I focus on the various manifestations of forces. My creations evoke, through metaphors, the individual and collective forces of women with diverse life paths.
The amphora is a characteristic image in my recent work. The etymology of the word "amphora" comes from the verb "to carry." The idea of carrying resources within oneself guides my research in materials, which also bear the traces of the people who have worked with them. An object carrying memory, the amphora is a key symbol in the history of ceramics. Fragments of amphoras are found everywhere, bearing witness to past civilizations.
The shape of the amphora recalls the human body: a strong base, a supporting body, anchored arms, a slender neck, and a raised head. Thus, the historical strength and anthropomorphism of the amphora, which are central to my reflections, inspire my studio work. Standing and grouped together, like rooted trees in a forest, the amphoras will testify to the power and resilience of women, much like ceramics, which remain an identity marker of our modern and collective history.
What has been the greatest challenge in your career so far?
As an artist, there is no predetermined path. This freedom, while enriching, sometimes makes it difficult to stay focused on my long-term goals. The greatest obstacle I’ve encountered has been learning to say no. Turning down commissions, especially when they seem to offer interesting opportunities, requires great clarity of mind and strong conviction. It’s essential for me to clearly define my objectives, to know where I want to go, and to stay true to that path, without being distracted by projects that don’t serve my artistic vision. It’s an ongoing process of discernment, but necessary to avoid losing sight of my personal and professional development.
Today, I affectionately refer to this process as “following my North Star,” an image that reminds me to stay true to my path, no matter the distractions or detours.
How does experimentation play a role in your work?
Experimentation and exploration play a fundamental role in my artistic practice. My main medium is clay, and in ceramics, the transformation of materials and states is at the heart of the creative process. The search for new forms of expression is essential to me, and each work I create is unique. For each project, I develop original shapes, patterns, textures, and colors, aiming to accurately convey my ideas and emotions.
I regularly conduct experiments, whether through sampling, mixing glazes, or using innovative construction techniques. This ongoing research process allows me to push the boundaries of my medium and discover new formal and aesthetic possibilities.
I am also very drawn to collaborative work, whether it involves human collaboration or advanced technologies such as artificial intelligence and digital tools. These exchanges, whether with people or machines, open up new perspectives and enrich my approach, allowing me to explore new dimensions in my practice.
Do you have any specific rituals in your creative process?
In my studio, I’ve developed certain rituals that help me structure my creative process and maintain a mindful relationship with my ongoing works. During production, the clay objects are protected by plastic coverings, which help control their consistency and drying process. Each morning, I begin my day by going around these covers. I observe the shapes closely, analyzing their texture and condition both visually and by touch. If necessary, I spray water to adjust their consistency and allow them to continue forming optimally.
In the evening, before leaving the studio, I take a moment to make a list of my goals for the next day. This ritual helps me set a framework for the upcoming day and keep a clear vision of the direction I want my practice to take. It creates a kind of transition between the work of the day and the anticipation of the work to come, allowing me to stay focused on my creative intentions.
What message do you hope to convey through your art?
Through my art, I hope to convey a message of strength and resilience, especially for women. I want to celebrate their strength, greatness, and determination—qualities that are sometimes underestimated or made invisible. My art aims to show that, even after life’s storms, it is possible to be reborn, rebuild, and bloom again. I want my works to reflect this possibility, serving as encouragement for women to believe in their own power and rise up, no matter the obstacles they face.
What is your personal motto or philosophy?
My mantra is simple: "I never wait to be ready before I start. I accept and move forward with courage." This philosophy guides not only my artistic practice but my life in general. Rather than seeking perfection or waiting for a grand idea, I prefer to act, experiment, and learn along the way. Every mistake, every failure becomes an opportunity to grow, reinvent myself, and keep moving forward. It is in action, even imperfect, that true progress is found.
