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France Fauteux 
Céramiste, sculpteur, écrivain

Biography

 

France Fauteux has a real passion for nature, animals and birds. She adores making comparisons between animal and human behavior.

In the 1970s, she study at the "École de Céramique Julien" of Quebec, and enrolled in numerous advanced training sessions, in Québec and Ontario. She opened her workshop in 1978. France has since taken part in many exhibitions in galleries, museums, and cultural centers in Quebec and abroad, including the Centre Matéria in Québec, the Musée d’Art Contemporain de Baie St Paul, Québec,the Musée du haut Richelieu, St Jean sur le Richelieu, Québec, the Shayder School of Art and Art History Gallery in Denver, Colorado, the Hammond Harkins Galleries in Bexley, Ohio, and many others. Her unique pieces belong to many public and private collections, During many years; France Fauteux also produces limited editions of birds and animals in fine earthenware for distribution across Canada and united states.

Since 1992, On many occasions, she has taught at the "École-atelier de céramique de Québec" and has also sat on its board of directors. France Fauteux is often asked to sit on art-craft juries. She occasionally gives talks and serves as a reviewer for the Conseil des métiers d’art du Québec.

For her outstanding talent, for the significant contribution of all her works of art to her field of study, and for the recognition that her peers have given her throughout her career, the Prix Hommage en métiers d’art 2014 (Tribute Award for Fine Crafts) ispresented to the ceramic artist France Fauteux.

The artistic process

My artistic interests have long focused on the world of animals. At first, I was fascinated by their form, agility, and physical beauty. Through observation, reading, and research, I discovered they had psychological and emotional capacities very much like our own. Captivated by these similarities, I wished to humanize my animal sculptures by giving each of them human emotions and expressions. An emotional bond is thus created, enabling the observer to feel attachment, respect and, then, appreciation for their differences.


Always fascinated by diversity on the one hand and by similarities on the other, I went from more realistic animal creations to completely imagined ones, so that I might better explore their forms, portray their emotions, and bring out the likeable side of their differences.

Then came the third stage, which led to my great leap forward. I created two complete imaginary universes peopled with fantasy characters, all very different and all ceramic-made. I brought them to life by writing, for each one, a marvellous adventure story.

Choosing the subject, matters a lot. The crucial choices for me, however, are the movement, the expression, the texture, and the colour that impregnate my creation. The most exhilarating moment is when I texture the sculpture. Only then does it come to life. Only then does it begin to breathe, vibrate, and communicate, because the texture is its own language and much of its expression.

If texture is the sculpture’s language, colour is its sound and melody. Extensive research has enabled me to develop slip coatings that come in a wide range of personalized colours. After firing, my creation takes on its true colour and can give voice to its emotions.