Studio Visit: Mel Arsenault, Montréal, Canada Mel Arsenault

Appears in the May 2026 issue of Ceramics Monthly.

Just the Facts

Clay 
Stoneware 

Primary forming method 
Coiling 

Primary firing temperature 
Cone 6 electric 

Favorite surface treatment 
Glazing 

Favorite tools 
Aaah . . . can’t choose, I don’t want to hurt their feelings, I love them all! 

Studio playlist 
Podcasts: I love Radiolab, Ben Luke’s: A Brush With…, and The Hidden Brain podcasts, and also play a lot of French Touch while I work. I only work in silence when I do glaze calculation. 

Wishlist 
More space! And a dust collector for glaze mixing. 

Studio 

My studio is a 464-square-foot (43.1–sq.-m) space with 17–foot (5.2–m)–high ceilings, located in an industrial building in Montréal, Canada. There is one non-opening window, so the landlord installed a restaurant-grade ventilation hood to properly vent the kiln fumes and manage heat buildup. I have three 6 × 3-foot (1.8 × 0.9-m) tables that I use interchangeably for building and glazing, which allows me to move fluidly between processes. I also use smaller rolling tables that are super practical for storing coils while I’m building or for holding pots while I’m glazing. The glaze lab is positioned right beside the sink to minimize the number of steps needed to rinse mixing bowls, sieves, and brushes. All the ingredients are within arm’s reach and organized alphabetically for maximum efficiency. 

To conserve resources, I keep a bucket in the sink to rinse tools, bowls, and brushes used for mixing and applying glaze. I save the slurry that settles at the bottom and plan to eventually recycle it into a “What’s that glaze?” 

One of the best aspects of my studio is its location: it’s only an 8-minute walk away. The main drawback, however, is the high rent. I could have chosen a cheaper space, but that would have meant commuting at least two hours in the winter when cycling, which isn’t an option. On top of that, my electricity bills are astronomical, even though I keep the temperature at 61°F (16°C) to reduce heating costs. Looking ahead, I plan to build additional shelving units to better take advantage of the high ceilings and maximize vertical storage space. I also need to rethink the layout to incorporate a dedicated painting area. 

Paying Dues (and Bills) 

I’m incredibly grateful to my partner for supporting my lifelong dream of enrolling in a BFA in Painting and Drawing (Concordia University) at 38, at the very same time my son was starting kindergarten. I took a ceramics class as an elective, assuming I would learn wheel throwing. When I realized that wasn’t part of the course, I was so disappointed I almost dropped it. Everything changed when we were introduced to glaze mixing. I became completely hooked by the endless possibilities for testing and experimentation that the materials offered. From that moment on, ceramics took hold of me in a way I hadn’t expected. 

I was very fortunate to study under remarkable artists and professors. Francine Potvin taught us strong foundational skills. Jean-Pierre Larocque guided us in building large structures, and Linda Swanson, the head of the ceramics department, has been such an inspiring teacher in glaze chemistry and materials! I went on to complete a Master’s in Sculpture and Ceramics also at Concordia University. 

I’m usually in the studio from 8:30am to 5:30pm during the week and often return on weekends for a couple of hours. I try not to exceed 60 hours a week, but when an exhibition is approaching, and things aren’t going as planned, there’s sometimes no choice but to put in the necessary time. 

Marketing 

I share my work on Instagram, but the galleries handle most of the visibility and promotion. I am deeply grateful to Galerie Nicolas Robert for supporting my work as early as 2021, even before I completed my MFA. Last year, I started to work with Galerie Florian Daguet-Bresson, which presented my first solo exhibition in Paris last September. 

Working with galleries has many advantages. They manage logistics such as shipping (which they cover), handle sales, build relationships with curators and collectors, and invest in art fair booths. In exchange, they typically take 50% of the sales. While that commission is significant, the professional network, visibility, and administrative support they provide make it worthwhile. In terms of market impact, art fairs have been especially effective. They bring a large number of visitors together in a short period of time, which helps generate momentum, visibility, and direct engagement. 

Mind 

I just finished Wuthering Heights, a real page-turner! I would definitely recommend reading it before watching the film adaptation. I’ve also recently started to enjoy poetry, and I read a lot of science-related articles as well. To recharge creatively, I spend time looking through art books and visiting art galleries. I also enjoy listening to artist talks, especially the Art21 series and the ones from Louisiana Channel. Hearing other artists speak about their processes and doubts is both grounding and energizing. I don’t take many breaks because I truly love being in the studio. That said, I take time to play chess and love going to the cinema. I also practice yoga, weight train, and do bodyweight exercises daily. Having a strong body is essential to sustain long hours in the studio without injury. 

I don’t leave the city very often, but I deeply love the outdoors. Observing flowers and trees, looking up at the sky, the moon, and the stars, even if only a few are visible where I live, listening to the wind rustling through the leaves, and watching bumblebees at work. These simple things genuinely amaze me, and that sense of wonder brings me joy. That’s why I believe it’s so important for cities to dedicate space to green areas; not everyone has the luxury of escaping to the countryside. 

Most Important Lesson 

An important lesson I’ve learned echoes something Philip Guston once said: “I make the work I want to see.” Over time, I’ve also learned the importance of saying no, and of not showing a piece unless I truly feel confident about it. If I doubt a form, I reclaim the clay. If a piece still does not feel right after a third firing, it won’t come out of the studio. 

Working with glazes has taught me patience and resilience. The process is long and frustrating, yet full of surprises. If you keep going, eventually you’ll get there. Keep calm and glaze on! 

melarsenault.com 
Instagram: @mel_arsenault 
Galerie Nicolas Robert (Montréal) 
Galerie Florian Daguet-Bresson (Paris) 

May 2026: Table of Contents

Must-Reads from Ceramics Monthly

• Studio Visit: The Glastonbury Collective, Detroit, Michigan
• Studio Visit: Grace Potter, Mendocino, California
• Studio Visit: Jeanine Pennell, Stockton, New Jersey