Translucency and contrasts: Creating a glowing piece

In the world of Quebec crafts, collaborations are a source of innovation and creativity. Mathilda and Elfenn's story is a great example. Their joint project, originating from of a constraint, was transformed into a luminous and unique piece. This is the story of an encounter between ceramics and illustration, where transparency and contrast guided each step.

The magic of translucent clay: the spark of a joint project

It all started for ceramicist artist Mathilda Lovell when she was faced with a problem:

“Last year there were big problems with the clay supply, and I had to buy and test different clays, so that I could find a replacement for mine.”

Among these new clay was a translucent one, fascinating but unusual for her, that caught her attention. However, once she retrieved her usual clay, she found herself with this special material in her hands:

“I wasn't sure what to do with it, but since it's ultra-translucent, I wanted to do something that used light to highlight its transparency.”

That's when she thought of creating a tealight holder, a utilitarian object that could magnify this material by letting shine pass through the fine ceramic. To bring an artistic touch to this project, she turned to Elfenn Manrot, a Montreal illustrator:

“I thought that a black and white contrast for this clay would be best, and Elfenn makes so many beautiful designs with this black contrast.”

The proposal is launched, and thus begins their collaboration.

Ceramics and screen printing: a creative duo in action

The idea for this collaboration took shape from a shared reflection on the object and its characteristics. Together, they designed a tealight holder, a decorative piece where light becomes a central actor. Mathilda, who often works with vibrant colors, opted here for a limited palette:

"It was the particularities of this clay used that dictated the choice of black and white."

Meanwhile, Elfenn revisited her old illustrations. She says:

"I took a base from an illustration I had already done and adapted it. I took different existing pieces and remade a slightly different composition so that it would be long enough to go around the ceramic piece."

In this case, she was inspired by her first collection, MonMTL , a nod to her company's first productions.

"It's funny that we came to reuse this line because I was a little sad to have stopped. It made me want to get back into it."

The technique chosen to apply the illustrations on the ceramic is screen printing. "I prepared the silk for screen printing, and Mathilda applied it to the ceramic piece." This transfer process requires precision and skill, and both artists added their own touch.

Mastering the technique to enhance creation

Of course, every artistic project has its challenges, and this collaboration was no exception. The first obstacle Mathilda encountered concerned the shape of the tealight holder itself: “I originally made it without a bottom, but it deformed the clay too much because I threw it very thin. So I had to make a base for it.” An adaptation necessary to ensure the stability of the object while preserving its transparency.

For Elfenn, screen printing was also a challenge. She says:

"I found this project very stressful. I hate instructions, learning something new... so it was very stressful to have to prepare the silks."

Although familiar with this technique, thanks to an initiation with a textile artist, Elfenn had to adapt to the material constraints. The compact screen-printing kit, which was used, imposed certain limitations: "We were a little limited in terms of dimensions by the screen-printing kit. We wanted the illustration to be the entire diameter of the pot."

Despite these difficulties, their determination paid off. “I am proud to have taken up this challenge,” says Elfenn, satisfied with the result.

A unique model. A collection to come?

For the moment, only one model of tealight holder has been created, but the idea of extending the collection to other formats and pieces is not excluded.

"Only one model is currently being produced, other pieces in different formats may be developed later," explains Mathilda.

Elfenn, for his part, is delighted with the opportunity to revisit her first illustrations from MonMTL . This experience has given her the desire to explore new media for his graphic work: "It made me want to get back into it and use it differently on other media."

New artistic perspectives after an initial success

This collaboration has also opened up new avenues for each of the artists for their future creations. Elfenn, who has discovered the benefits of screen printing at home, is already considering new possibilities:

“Getting this screen-printing set, which is simple and easy to use at home, has given me ideas for other things to do for my personal collection.”

As for Mathilda, this first screen printing experience could well continue:

"I had never used screen printing before and I might want to continue: the images produced by screen printing are cleaner, more defined than hand-painted designs."

Beyond the technical aspect, both artists are eager to know how their new piece will be received. Elfenn admits:

"Normally my collections are very colorful and textured, and here I have to stick to very simple black and white design. I'm quite curious to see if people will like our production."

A curiosity shared by Mathilda, who eagerly awaits feedback on this atypical creation in her career.

This project, born from a need for adaptation, has become a true artistic success, marked by the meeting of two creative worlds. A beautiful example that, in the world of crafts, constraints can sometimes lead to the most beautiful discoveries!

Discover all the collaborative projects in this special 50th anniversary collection