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Land Songs, Water Songs, Chants de terre, Chants d'eau, collaboration project with Peter Morin, artist and performer from the Tahltan First Nation and Ziya Tabassian, percussionist, curator Jordan Strom. This project was presented at the Surrey Art Gallery, BC, from June 29 to September 1, 2018. We presented two performances at Ateliers 6235, May 4-5, 2019. The installation and the recordings are part of the permanent collection of the Surrey Art Gallery. Live interview on July 27, 2018: Radio-Canada premiere Vancouver 1/1 ​ Drums, drum beats, stories, songs, land and clay came first, connecting us – Peter Morin, Ziya Tabassian, Roxanne Charles and me. Then Navarana Igloliorte came our way, capturing images and overlapping her artistic knowledge to ours. Finally Somit Sharma recorded and edited the sound of the performances. Our encounter created a space, an atmosphere, a “landscape” in which I could navigate through the explorations I feel, around and within me. I believe our encounters made it possible for all of us to understand our sensitivities and our desire to share our unique stories. It occurred to me that our project raises questions about the relationship between our different cultures, artistic endeavours, histories and territories. I listened and received all these stories as a gift. It shed light on respect and sharing, silence and presence. Water Drumming: collaboration de Ziya Tabassian, Peter Morin, Marie Côté Navarana Tretina et le territoire. 1/1

Breaths I first imagined these little "breaths" in connection with the project "Là où cueillir la chute". They are pieces that I throw on the wheel and breathe into, immediately after throwing them. They fit in my hands. It is the plasticity of the material and the force of my breath that deforms these small objects into variable and sometimes even cracked shapes as I breathe in and out. I then fire them as they are. I use clay gathered in Saint-Hyacinthe to make them. I presented them at the Sutton art gallery as part of the exhibition "Marier la terre, les feuilles, la forêt " and at Joann Côté's Verger Créatif as part of the exhibition "Ève au jardin de pommes", collaboration with Camille Cazin, Fatale Art gallery. ​

Sculpture, ceramics, drawing, musical collaborations Video by: Charlotte Lacoursière Musée Gardiner de Toronto, du 23 mai au 2 juin 2024 Là où cueillir la chute | Marie Côté, Olivier Girouard, Peter Morin, Navid Navab, Ziya Tabassian. A new performance May 24 2024 at the Gardiner Museum in Toronto, during the International Ceramic Art Fair, on the theme of "Gathering". Launch of our album Là où cueillir la chute September 25 2023, 6235 Papineau, 5-7 pm | Olivier Girouard, Peter Morin, Navid Navab, Ziya Tabassian, Marie Côté and the contribution of Melanie Cody Là où cuellir la chute, clay project, music and Indigenous Hand Talk History of the project and the making of the record Marie, the breath Remurmurer la terre: hommage à Yvon Forget Triennale de Laval, Interrègnes, July 31- October 30 2022 Drum (tribute to Jim Pepper) work of Marie Côté, Peter Morin, Ziya Tabassian Collection, MNBAQ, photo Denis Legendre, collaboration Ziya Tabassian, Peter Morin North: "at the still point of the turning world" T.S. Eliot Gardiner Museum, Collection Raphael Yu, Le son est rond See the art works of the musée national des beaux-arts du Québec collection Marier la terre, les feuilles et la forêt Exhibition by Joseph Branco and Marie Côté, Galerie d'Arts Sutton, April 11 - May 30, 2021 Eggplant leaves For everyday, small serving plates Daily salad bowls Clay and shale from Gaspésie, on sale at the Fabrique 1840 Le vendredi 25 septembre 2020 j'ai participé au colloque « Fonctions de l'atelier d'artiste » organisé par Laurier Lacroix (CRILCQ, UQAM) et Dominic Hardy (CRILCQ, UQAM). Voici mon texte: https://ateliersartistesqc.art.blog/2020/11/03/notre-atelier-par-marie-cote/ ​ ​ Marie Côté offers courses and support for all levels. It is also possible to rent a workspace on a monthly basis. See details Classes and rentals

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

Dawson: la géographie d'un territoire: artist residency at the Klondike Institute of Art and Culture, Dawson City, Yukon, 2016. Live interview Monday October 24, 2016: Radio-Canada, première, Vancouver Project exhibited as part of Ateliers 6235, May 17 to June 2, 2019 ​ 1/1 ​ I harvested the clay in Bonanza Creek where one can find the White Channel gravel. The White Channel Gravel (Pliocene) is the most important gold-bearing unit in the famous Klondike goldfields of west-central Yukon. ​ texte de présentation 1/1 1/1 Chapman Lake, is by the Dempster Highway at 289 km from the Arctic Circle. We stopped to see and heard these strange noises that we felt came from the depth of the lake. We were told they were from ice formation. Dan Sokolowski, responsable for the artist residency at the Klondike Institut of Art and Culture in Dawson City and myself recorded these eerie sounds. My artwork "Chapman Lake" is made of a wooden plinth of 1,8 x 1,8 meters under which are hidden vibrating speakers.The spectator is invited to walk on the pedestal and feel as much as hear the vibrations of the sounds. I carved the map of the lake on the wooden pedestal.

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

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.

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

Cueillir la terre , was part of "Jardin de pommes et d'argile", a group exhibition presented September 28-29 and October 5-6, 2019, at 994 Chemin de la montagne, Mont Saint-Hilaire. Since 2011, sourcing clay in nature has opened up a whole range of research that adds to my artistic concerns. I sourced some in Inukjuak, Les Escoumins, Dawson City and on the reserve of the Semiahmoos First Nation. Whenever I hold a lump 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. ​ It is the first time that I collect clay in the greater Montreal area, where I live. After some research, I understood that to find some in what the geologists call the plain of Montreal, it is necessary to dig. Until now all the clay I found was on the surface. Thanks the director of the Mont-Saint-Hilaire nature park, Mr. Éric Malka, I found a construction site in Beloeil near the Richelieu river and near Mont Saint-Hilaire. I went there and with the permission of the site foreman, I gathered clay from a huge pile of freshly dug earth. Also, Mr. Girouard, agricultural engineer accompanied us on one of his family's lands in Saint-Hyacinthe, with the idea of digging at the bottom of an irrigation pipeline, therefore avoiding the use of a mini excavator ! The clay from this location is without gravel or sand. Both are extremely plastic. ​ The works I am proposing for this exhibition are made from one or the other of these two clays. They represent the most fundamental specificity of the area. “The Montreal plain was the main sedimentation basin of clay and silt, the Champlain Sea and Lampsilis Lake, which successively covered the glacial deposits put in place during the Quaternary era. 1 »Today, these lands are considered among the best agricultural land in Quebec. ​ That is 10,000 years and more of history. Manipulating in my hands such old clays that accounts for an evolution on which we are dependent makes one dizzy. They give us to see and hear the richness of our territory. They are gray in their natural state and orange when fired because of the iron they contain. But of all the clays I have worked with, these ones resonate best. The sound wave emitted is audible for several seconds. As if from the depth of time a voice still arises. Persistent, it invites us to listen to it before it is too late. Commentary by Olivier Named in the local newspaper the L'Oeil Régional 1. http://sis.agr.gc.ca/siscan/publications/surveys/pq/pqb7/pqb7_report.pdf

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 courants, Currents, exhibition presented at the Lilian Rodriguez gallery from April 22 to May 27, 2006 Press release For her first solo exhibition at the Lilian Rodriguez gallery, the artist presents a series of works entitled "les Courants" made entirely of ceramic works. In continuation with her recent work, this new production still testifies to the artist's fascination and concerns for water. Hanging on the wall, these works present themselves as a kind of hybridity between drawing and sculpture. They represent fluid silhouettes inspired by what one could imagine to be water networks of streams, rivers and lakes. These drawings / sculptures, by their serpentine lines, invite us a mobility of the gaze . This rhythmic vision is created both by a jerky and continuous movement, given by the dynamics between the different segments of each part and by the formal and chromatic unity of the whole. In addition, the brilliance, transparency and colors of the glazes used as well as the play of shadows given by the wavy movement of the lines help create a floating effect on the surface of the wall. ” Joseph Branco

Remurmurer la terre: tribute to Yvon Forget, exhibition project as part of the Triennale Banlieue! interrègnes The work is shown in two different locations: La maison des arts de Laval, Salle Alfred Pellan and the grounds of the Théâtre du bout de l'île at the Chapelle St-Mathieu, Île Jésus. July 31 - October 30, 2022. This project is funded by the Canada Council for the Arts. Marie Perrault is principal curator of this show The Fabrique culturelle has shot a video on the triennial. It presents the work of some of the artists with whom I exhibit and my own. Marie Perrault is the curator of this triennial ​ Since 2011 I have been collecting clays in the wild with which I draw, shape and throw. In 2019 I started to pick some where I live, in the great plain of Montreal along the St. Lawrence river lowlands mainly in Saint-Hyacinthe and Sainte-Rosalie. The Montreal plain is the main clay sedimentation basin of the Champlain Sea 10,000 years ago. This high quality clay tells the story of our territory and our history. In the spring, when I opened the bucket in which clay collected from a farm in Saint-Hyacinthe was placed, I discovered green twigs, well alive, on which fine droplets of water clung. I was astonished, especially since no light stimulates the growth of this delicate vegetation in a bucket filled with clay. It is this surprising discovery that prompts me to deepen the links between my work with clay and agriculture and to work with a farmer for the triennial. This summer, I met Mr. Luc Forget, farmer, who confirmed the presence of clay on his land and agreed to work with me. During our first meeting, Luc Forget gave me a book of the memories of his father Yvon, who died in 2019. In his words, it was to allow me to better understand his origins and the importance of safeguarding farmland. The Forget family is a root family that has been living on Île Jésus for seven generations. Yvon Forget fought all his life for the protection of the agricultural land of Laval. In his eyes, land is a family heritage to be protected and bequeathed to his children. In the middle of the 20th century, he also resisted the temptation to give up his land against tempting offers from German companies wishing to store potentially dangerous residues of chemical factories there. In order to protect arable land from speculation, he also met the then premier of Quebec, Maurice Duplessis, and laid the foundations for what would become the law on the protection of agricultural land. Today his son Luc, provides me with the clay from his land to make a work in tribute to his father. Yvon Forget was a pioneer who worked to ensure the handover between the generations. This is the reason behind my choice to make network channels like mycorrhizae which ensure through the symbiotic association between mushrooms and the roots of plants the transfer of nutrients essential for soil fertility and good harvests. I notice that from landscapes, territories, communities, works carried out, the gathering of clay allows me to probe the incredible and rich multiplicity of a world whose tangled ramifications mutually nourish each other. Through careful observation and active listening, my work engages me in a dialogue with people and with nature. And let me hope that it tends also to the passing of a story. ​ Vous pouvez aussi lire en version PDF, le livre Mémoires de Yvon Forget , écrit par Sylvie Lafleur, sa belle-fille. Filmé le 22 juillet 2022 sur le terrain de la chapelle Saint-Mathieu, au théâtre du bout de l'île Jésus. Le blé, le soya et le maïs poussent bien. ​ 1/1 Continuation of the installation exhibited in the Alfred Pellan gallery of the Maison des arts de Laval. Seven flower-plates, seven balls of raw clay and a sheaf of wheat picked on the Forget's land. Carnet de bord, 27 juillet 2022 This installation teaches me a lot about the qualities of low-fired clay. The canals stay moist and therefore have helped the plants to... Carnet de bord, 22 juillet 2022 Grass, small yellow flowers (birdsfoot trefoil), clover, plantain now surround the clay channels. I assume that this vegetation keeps the... Carnet de bord, 12-15 juillet From sketch to work. Carnet de bord, 4 juillet 2022 Life settles in and adapts to time . Carnet de bord, 28 juin 2022 The wheat grows well. Carnet de bord, 20 juin 2022 The installation is slowly coming to life in its new environment. It still needs some maintenance! Carnet de bord, 30 mai 2022 The installation of the work "remurmurer la terre: hommage à Yvon Forget" began on Monday, May 30 with the shooting of a video for the... Carnet de bord, 1er juin 2022 We have spread the channels in the form of mycorrhizae .