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This is an exhibition that brings together old and new works. Except for the drums, they are made in whole or in part of clay gathered in nature and presented as part of the International Ceramic Art Fair at Toronto's Gardiner Museum from May 23 to June 2, 2024. Le renversement VI 2024, argile et ocre cueillies en Haute-Côte-Nord Le renversement VII 2024, argile et ocre cueillies en Haute-Côte-Nord Tambour 2018, porcelaine et peau de chevreuil, collaboration Peter Morin, Ziya Tabassian, Marie Côté Tambour 2018, détail Souffles 2021-2023, Argile cueillie sur une ferme de Saint-Hyacinthe Bols chantants et morceaux de terre 2019, argile cueillie sur une ferme de Saint-Hyacinthe Dawson, la géographie d'un territoire 2016-2018, porcelaine et argile cueillie sur le site d'une mine d'or à Dawson City, Yukon Par une multitude assemblée 2024, porcelain and clay from Isle-aux-Grues sourced in the battures of the St. Lawrence River

Les pas de l'eau , after the poem of Sohrab Sepehri is an installation / performance with the collaboration of Ziya Tabassian percussionist and Olivier Girouard, composer. We presented the work three times. 2005, Center Daïmon and the Montcalm gallery 2006, Les escales improbables de Montréal, Vieux-Port, Montreal, September 2016, Laval arts center, July 16 ​ "Si vous venez m'y chercher Venez-vous-en donc lentement et doucement De crainte que ne se raye La porcelaine de ma solitude" extrait de "Oasis dans l'instant" de Sohrab Sepehri The visual installation is made of two elements : the clay slabs that I call "the puddles" and a group of pots and instruments called "the oasis". Initially, the project was to be presented in a gallery as an open work through which the viewer could stroll. My meeting with Olivier Girouard, composer and Ziya Tabassian, percussionist gave the work a different light and an unexpected color. It created a space for sharing our artistic universes and our respective sensitivities translating most of the pleasure that I feel to see two voices making their way to the heart of my ceramics and to hear them. I exhibited The puddles twice simply as a visual installation: in the summer of 2013 at the Clay and Glass Gallery and in the summer of 2014 in the Escoumins.

Les vents, Winds 2005 -2006 1/1 4 preparatory sketches These pieces are constructed by staking forms one on top of each other. They are engraved and enamelled with a transparent glaze. These are wind movements inspired by wind maps or isobaric maps that I reproduced on the outside surface of the vessels. Indeed, the wind rises and falls in a perpetual and circular movement recalling the work of the potter and its skills on the wheel. Doesn't the potter's experience also consist in creating forces, pressures, tensions from the vacuum surrounding the clay to shape it?

Of Bowls and voices , exhibition presented at Oboro from April 27 to June 1, 2013, at the Clay and Glass Gallery from June 27 to September 1, 2013 under the title Of Vessels and Voices and as part of Ground Signal at the Surrey Art Gallery from September 23 to December 10, 2017 Oboro , Opuscule written by Marie Perrault and published by Oboro Performances by Lysa Iqalik and Annesie Nowkawalk Elektra 14 Anti / Matter International Festival of Digital Arts, Montreal, May 1 - 5, 2013 Text by Jean-Émile Verdier on "Bowls and voices games" Commentary: La source, forum de la diversité Singers: Margaret Mina and Ida Oweetaluktuk Bowls and recordings: Marie Côté Audio video editing: Olivier Girouard 1/1 My project is a visual and sound installation which also includes a series of clay drawings on paper. I produced this body of work in Inukjuak, Nunavik, over the summer of 2011 through a grant and an artist-in-residence program subsidised by the Conseil des arts et des lettres du Québec, Aumaaggiivik (Nunavik Arts Secretariat), the Kativik Regional Government, and Air Inuit. Eight throat singers sang with and in the porcelain bowls I made specifically for the occasion. I recorded their chants in four different locations: at the Avataq Cultural Institute, in the community family centre Sungirtuivik, in a traditional Inuit inter-seasonal dwelling called a qarmaq, and in a house that served as my residence for the time I was there. Along with the music, the recordings also include the conversations between the singers, the repetition of particular melodic motifs, and the ambient sounds of everyday life in the north. I initially got the idea of singing and bowls when I heard Inuit singers in a concert given by the Montreal Symphony Orchestra under the direction of Maestro Kent Nagano. I was intrigued by the proximity of the singers’ mouths when singing and later asked one of them why were they so close to one another. She told me it was for the echo. This simple answer suddenly propelled my research into the world of Inuit vocal games, voice and echo. If sound reverberates through juxtaposed mouths, why not add to the phenomenon of sound reflection an element – porcelain bowls – capable in their very form of reverberation and resonance? It is around this question that my project Of Bowls and Voices finds its source and inspiration. The installation includes four porcelain elements or diffusers that play back the recordings through hidden speakers. When, by chance, one of the throat singer’s voices finds itself in harmony with the resonance of a bowl, the sound seems to spin and elevate itself in a gyratory movement that coincides perfectly with the roundness of the bowls. And within the same movement and in the same space, the bowls and voices reform and situate for the eye and the ear a little bit of the North’s colour and intonation. The circularity of the mouth and the bowls and speakers, and the northern sky all play off one another. ​ Voices : Elisabeth Nalukturuk, Nellie Nappatuk, Sarah Naqtai, Phoebe Atagotaaluk-Aculiak, Lysa Kasudluak Iqaluk, Margaret Mina, Annesie Nowkawalk et Ida Oweetaluktuk ​ Sound excerpts: Of Bowls and Voices Sound editing: Olivier Girouard 1/1 1/1

Photo: Roger Charbonneau photographer Photo: Paula Youwakim, This is Paulette I have been working with clay for 40 years, crossing the practice of ceramics, drawing and contemporary sculpture. One or the other of these disciplines nourish my imagination and maintain ever closer and more singular relationships. Over time and with great determination, I have sought to use this material in all its states and with collaborators from other disciplines in order to express and share my concerns and thoughts on the world around me. ​ Reflections surrounding my practice. ​ Curriculum vitae ​ Collections ​ La Fabrique culturelle : 2022: video shot in Laval at the" bout de l'île" theater and on the Forget farm as part of the trienniale banlieue! of the maison des arts de Laval. 2016: video shot at the Rimouski regional museum in October 2016, produced by Télé-Québec ​ Presentation of my work at the Canadian Clay and Glass Gallery as part of the Winifred Shantz Award for Ceramics and RBC Award for Glass, November19, 2013 ​ Historical dictionary of Quebec sculpture in the 20th century The 6235 Workshops I started by making pottery. I never stopped. It taught me patience and discipline and above all gave me a particular vision of the world. I found in the making of these utilitarian objects a very modest way of penetrating everyday life and embellishing it. I acquired a certain sensitivity for clay or earth, which is still the preferred material for all my work today. And it is always to clay that I return when, on certain days, the meaning of things escapes me, as if returning to simple and fundamental gestures allowed me to safeguard a spontaneity that is born directly from the knowledge of a material. It is in this spirit that I offer pottery classes in my studio. At the pace of each participant, I accompany them in the development of their respective skills. ​ Les ateliers 6235 is also the story of a building on Papineau Street where several artists who have studios there work side by side. Here is a short text of presentation . And a text written by Christophe Scott and published on the web site of Histoire des ateliers d'artistes au Québec (1800-1980) about our studio.

Les tambours, drums 2006 - 2018 1/2 The great circle The great circle Sketches for drums MNBAQ collection Small blue drum Collaborations and drums Peter Morin: Tahltan First Nation artist and performer Ziya Tabassian: percussionist I collaborate with Ziya since 2006, he plays on my works. Ziya is a very committed musician whose research on sound exploration both on traditional instruments and on objects that come from his environment leads him to exceptional and innovative sound creations. Each instrument or object is a subject of research and sound creation. And like him, Peter also plays the drum. The link was obvious. Impregnated with their respective Tahltan and Persian cultures, both seek in the rhythms to give the works meaning and breath. By playing on my ceramics my sensitivity is found to marry quite naturally with theirs. They give my works a voice that lets the clay as a material be heard, but also lets the resonances and ancestral knowledge vibrate, which become at the same time foundations and stepping stones. Excerpts of a presentation

Spring 2024 7-week workshops ​ ​ ​ ​ Spring session ​ From March 25 to MAy 13 7 weeks at a cost of 403 $ including taxes Monday from 5.30 pm to 8.30 pm with Marianne Chauveau Full ​ Tuesdays from 10 a.m. to 1 p.m. with Marianne Chauveau 1 place available ​ Wednesdays from 5.30 pm to 8.30 pm will resume in October 2024 ​ ​ Thursday from 6 to 9 pm with Marianne Chauveau Full The cost includes - a bag of porcelain - glazes and firings - three extra hours per week to practise Inscription Rentals For a mateur potters ​ For $165/month, including taxes, you can rent a small workspace, including two storage shelves and access to a wheel, roller table, glazes and firings. The studio is available every day except during course periods. A limit of 8 hours per week is allowed. ​ ​ ​ ** The spaces are currently all rented until April 2024**. ​ Contactez-moi Firings ​ ​ 12 0 $ including taxes for a full kiln. 40 $ including taxes for a shelf no more than 20 cm high and 60 cm in diameter. Contactez-moi

Retrouver l' horizon, stop motion and drawing project Retrouver l' horizon Drawings on painted wooden panels covered with raw clay from Les Escoumins. From the series: la barre du jour Stop Motion Animation, 10 seconds Drawing of wet raw clay on wall ​

Marier la terre, les feuilles et la forêt, exhibition by Joseph Branco and Marie Côté, the Sutton arts gallery, from April 8 to May 2021. Curator Robert Lebeau Go to link 1/1 ​ Arts Sutton presents a duo of artists: a ceramicist-sculptor and an artist-painter. When Marie Côté discovers a place, a territory, she is not satisfied with the surface or the landscape. She goes under the surface, seeks the earth, the depth of the place, its specificity, it takes hold of it and makes it live differently. Like a witch, she listens to the land she makes speak and sing. Thus, she discovers the roots of places and their inhabitants. This is what brought her up north, to Inukjuak in Nunavik and Dawson City in the Yukon, west to Surrey in British Columbia and very close to here in Saint-Hyacinthe and Sainte-Rosalie on farms to discover virgin or specific lands. The ceramicist-sculptor brings to life and sing the earth which for us seems inert and not very talkative. When Joseph Branco discovers a place, a territory, he sees less the landscape and the perspective, he rather focuses on the details that would make the still life. He sees less of the forest and more of the leaves and branches. He wants to immobilize time like the photographer and thus capture the essence of the place, the object, the material. When the two artists meet to create together, the clay in Marie Côté's hands becomes sculpture, still life. It is a rare moment and little shown. The exhibition presented by Arts Sutton is the privileged opportunity to see the works born from these meetings as well as recent works by Côté and Branco. Robert Lebeau, curator ​ 1/1 Common works of Joseph Branco and Marie Côté Breaths of Marie Côté 1/1

Clays: I sourced all these clays in nature, in Inukjuak, in Les Escoumins, in Dawson City, on the first nation Semiahmoo reserve, in Beloeil and in Saint-Hyacinthe. Since 2011, harvesting clay has opened up a whole range of research that adds to my artistic concerns. Whenever I hold lumps of new clay in my hands, I have the feeling of discovering a singular world that carries a memory and tells, in its materiality, a territory and a history intimately linked to that of the communities that inhabit it. Inukjuak, banks of Hudson Bay raw clay from Inukjuak on porcelain Inukjuak 6 juillet Inukjuak raw clay on paper L'anse à Thibeault, Les Escoumins Upper North Shore Ochre on black magnetite sand, l'anse à Norbert, Colombier Upper North Shore Le renversement I Raw clay and ochre from the Upper North Shore on wall Clay containing gold powder from Dawson City Mirage: recto Raw clay and gold from Dawson on paper Mirage: verso Raw clay and gold from Dawson on paper Clay sourced on the Semiahmoo reserve Land Songs Water Songs Semiahmoo raw clay on wall Land Songs Water Songs Semiahmoo raw clay on wall and drums Rang Saint-François, Saint-Hyacinthe Fired bowl from the serie: cueillir la terre Clay sourced in winter in Saint-Hyacinthe Breaths Fired clay from Saint-Hyacinthe and Marie Côté's breath Go to link 1/1 There is a resurgence of fresh water on the ocher flow which extends over a black magnetite sand.

Les attrape-vents, Wind Catchers, 2007 - 2009 Vidéo: produced and edited by Mehdi Benboubakeur 2007, Zone d'affluence - promenade des arts inattendus de Mercier 2008, galerie Lilian Rodriguez et Les escales improbables de Montréal 2009, galerie Nuha Al-Ali, Damascus, Syria 2013, Clay and Glass Gallery 2016, Maison des arts de Laval and le musée régional de Rimouski 2018, musée national des beaux-arts du Québec, exposition Fait Mains ​ Video of Mehdi Benboubakeur 1/1 1/1 The Wind Catchers ​ Galerie Lilian Rodriguez, 2008 The attrape-vents (wind catchers) came about during the creation of a series entitled les vents (the winds). At the same time, I began collaborating with musicians. For me a ceramic takes shape through both its volume and its inner and outer space. According to a saying in the Chinese Tao, “One moulds a pot out of clay, but it is its inner void that holds what one wants.” It thus seemed obvious to me that the patterns engraved on the outer surface of les vents would also make sense inside the pieces, where a fertile void liberates sounds. Therefore, I turned my pieces inside out, as one would of a glove. Wind maps or isobaric maps depicting the directions and variations in the intensity of the wind inspire the patterns I draw on clay. Despite their purpose, these maps are amazingly aesthetic, their contours and lines spiralling in a flowing and changing movement. By blending the characteristics of the wind and my expertise as a ceramist, I design patterns that express the energy and strength of the wind along with the pressures and manipulations exerted on the clay being transformed to erect a pot. By nature, does the wind not ascend and descend in a perpetual and circular movement? Though our senses can perceive directly its active force, we are unable to grasp it regardless of the phenomena it generates and its strength on the environment. One can but try to discern its amplitude. Like my previous sculptures, the attrape-vents attempt to illustrate this invisible dynamics of space. Expanding this line of thought is a series of “drawings” I did on paper via a transfer method. When rolling raw clay on paper, the humidity of the clay that the paper takes in, combined to the shrinkage of the clay when it dries, crumples and wrinkles the paper. The result is drawings in relief. The transfer sets in motion all the forces at work, that of the clay, of my hands shaping the clay and of the paper – the qualities of its fibres and thickness also contributing to the surfacing of these impressions. Hence, the drawings are like imaginary topographies reconstituting the shifting of the clay’s humidity in the atmosphere of the paper. ​ The association of the papiers and the attrape-vents creates a surprising visual encounter between the folds of the paper and the patterns of the porcelain. The mismatch of the substances fades in favour of a reading in continuous mode from one motif to another. The whiteness of the papers and that of the porcelain retain light and expose the relief even further. Finally, this encounter conveys the permeability and interaction between the different forces involved and its vital spark. Lastly, a video comes with this exhibition. It is about a work I did in collaboration with the independent filmmaker Mehdi Benboubakeur. The film was shot inside three attrape-vents. Although the camera and the light magnify the patterns and drawings, the main subject of the artwork is the movement. Not that of the camera that is stationary, but that of the attrape-vents turning on themselves. In the process, it is the material, the clay that regains its original flexibility and malleability. ​