Skin of porcelain
The clay and me
Working with clay is a mix of patience and surprises. The material never does exactly what you ask of it — it resists, it surprises, sometimes it makes me laugh. I’ve learned to see this as a dialogue rather than a control: I propose a form, and it responds in its own way.
the Material
I work mainly with porcelain, a luminous material that delicately reveals every relief and play of shadow. I’m also exploring dark red stoneware, whose density and color open up other possibilities for shapes and textures.
Each material has its own rhythm and its own rules. Learning to know them is part of the work.
Each material has its own rhythm and its own rules. Learning to know them is part of the work.
Lana Langlois
I trained in ceramics through practice: several years of classes at the ceramics center, countless trials, and a material that taught me as much as my instructors did.
I favor the form of the vase, which offers vast room for exploration. Unlike utilitarian objects, a vase isn’t owned out of necessity, but out of attachment.
My work sits between intervention and simplicity: some pieces are marked by gesture, others remain deliberately quiet, letting the form speak for itself.
I favor the form of the vase, which offers vast room for exploration. Unlike utilitarian objects, a vase isn’t owned out of necessity, but out of attachment.
My work sits between intervention and simplicity: some pieces are marked by gesture, others remain deliberately quiet, letting the form speak for itself.