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Bio
Maryse Chartrand

It took me a while to find glass. A long detour through a 25-year career as a Creative Director in advertising and a Documentary Filmmaker. It’s in 2004, during an introductory course in glass blowing, that I began to embrace the idea of becoming a glass artist. I loved getting out of my head to find my hands, and exchanging ideas and words for material and breath.

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In 2010, I decided to take a leap of faith. I returned to the classroom, or rather the atelier, for a full time three-year glass arts program. In the spring 2013, I graduated from Centre des métiers du verre du Québec.
Since graduation, I’m a full time glass artist. 

 

Creating with glass is a privilege. It’s getting up close to observe the poetry of a material of many contradictions. Glass is dense, yet vaporous. It’s solid and fluid. Matter and light. 

 

From the beginning, I've always had the impression that glass is talking to me. We've been engaged in this long conversation on the concept of wonder. Each new series I develop arises from this feeling. I am fascinated by glass’s ability to evoke weightlessness, to vibrantly reveal colour, or to freeze movement with incredible ease. 

 

When I’m focused on a new series of works, my process always follows the same path. I begin with intensive research. I try to see all the ways I can recreate what caught my attention. Many trials and tests lead to many more. It’s definitely the most electrifying part of my creative process. I begin this stage with the sole desire to experiment. Free from the expectation to create a “beautiful piece,” I am fully open to what wants to emerge. I become highly attuned to any discoveries that may push my initial idea even further. No censorship here. I want glass to show me the way. 

After this research phase comes the process of narrowing things down. I now know what fascinates me, and I strive to bring it to the forefront. I make final decisions regarding the colours, shape, volumes, cuts, finish … everything must support what the piece is trying to say. Gradually, the series takes form. I know it is mature when there is nothing left to add or remove. 


Some of my work is in private collection internationally as well in the Quebec National Museum of Fine Arts and Montreal Museum of Fine Arts.

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