CAMEO IS AN ONGOING SERIES FEATURING CANADIAN JEWELLERY ARTISTS. HERE, THEY SHARE THEIR LATEST THOUGHTS AND INSIGHTS, AND GIVE US A PEEK INTO THEIR PRACTICE.
Photo by the artist
I turned to contemporary jewellery because I felt a disconnect with traditional high jewellery. I don’t come from a wealthy background. I come from a modest family where hard work is everything. Still, I admire the rigour and craftsmanship of high jewellery, and that’s what I want to bring into my pieces: solid creations that stand the test of time. But above all, I want them to tell a story. Not objects made to flaunt status or wealth, but works that carry meaning. I want the people who wear my jewellery to have a story to share, not just a price tag to show.
How did you find your way to contemporary jewellery?
The body holds a central place in most of my work. With few exceptions, I tend to have an obsession with ensuring that my jewellery is not only aesthetically pleasing, but above all comfortable and easy to wear. Jewellery is made for the body, so it must respect its movements, its sensitivity, and its everyday reality. If a piece does not meet these criteria, to me it is not a good piece of jewellery. A piece that is not pleasant to wear loses its meaning, no matter how beautiful it is. It’s a way for me to honour the bearer of my work.
What role does the body play in your work?
What material are you currently obsessed with and why?
The material that fascinates me the most is beach glass found along the shores of the Saint Lawrence River. When I was younger, I used to collect it with my grandfather and we still do to this day. It has become almost a tradition for us: going on glass hunts and gathering these small treasures. What I love about this material is the story it carries. It is first created by humans, then discarded by humans. Over time, nature shapes it, smooths it, and eventually returns it to us, transformed. This cycle speaks to me deeply: it’s about rediscovering meaning in fragments that were once abandoned. And then, I reshape them by hand to create art pieces.
It’s total chaos until I do a big cleanup. Then, as soon as I start a new project, it erupts into chaos again until it’s finished.
Your studio: total silence or inspired chaos?
Matias Beaulieu, Fracture, glass pendant, 925 sterlings silver, glass, 2025 photo by the artist
Matias Beaulieu, Football Player, 925 sterling silver, 2024, photo by the artist
Can you tell us about a technical challenge that you have overcome and how you were able to resolve it?
Hand engraving was a big challenge. Finding the right amount of pressure and force without over-engraving and ruining the piece was difficult. Now it’s much better, and I almost have it under control. I use it a lot in my most recent work. I tend to think this tool is one of the most important to master. It’s just as essential for adding texture as it is for stone setting or cleaning up tiny areas.
The final year of my formation at École de joaillerie de Québec and my first exhibition at L.A. Pai gallery.
What is coming up next for you?
Published: 2025/8/26
