There is a rough, chthonic sensuality to Meg Beaudoin’s ceramic art. This quality seeps into them in a timeless sense of survival and strength. They sing their power in all seasons. Villages may rise, thrive, and become ruins over time, but these clay offsprings of her vision will contain their intrinsic integrities always. They are pillows for the heads of Gods and Goddesses who sleep under the Moon. They are not delicate. This power is what attracted us to them; this feeling of sculpting the naked earth into forms we can almost hear grating and grinding as they slow dance and chant through layers of global histories and culture.

Here is how the artist herself tells it from an article in Ceramics Monthly in 2020:

Given my tendency to attempt to synthesize apparent opposites, it is not a big surprise that I consider my work to be both sculptural and functional at the same time and that I am drawn to the Japanese Wabi-Sabi aesthetic. Once as a psychologist and now as a ceramic artist I embrace the imperfection of the human and natural worlds as a source of beauty and meaning. It is this beauty of imperfection that I attempt to manifest in my work and that gives meaning to my life. My focus used to be about making a whole from the fragments of the world of human experience and now it is about making a living connection to the perfectly imperfect forms of Nature, of which human forms are one part….I am drawn to textural surfaces that are everywhere in Nature, cracked surfaces where you can see the inside from the outside, and the profound irregularity of organic form.

We are honored to present a varied and intense selection of Meg Beaudoin’s work in this Spotlight.