Written by Mélanie Paulin

As a child growing up in the 80s and 90s, I was always drawn to working with my hands. From latch hook and friendship bracelets to weaving, cross-stitching, and painting ceramic figurines, I eagerly explored any craft I could find during regular visits to Lewiscraft—Canada’s go-to craft store before Walmart or Michaels showed up. This passion for creating stayed with me well into adulthood, even as I pursued a doctorate in environmental molecular biology.

At 6 years old in 1987 with my cardboard house. Credit to my mom who I assume had a large part in the making of it. Photo: courtesy of the artist.

While my work in science was intellectually stimulating, I was increasingly restless, though I couldn’t quite pinpoint why. In my free time, I began rescuing discarded furniture from the streets, long before upcycling became trendy. Despite having no carpentry experience, I embraced the challenge of teaching myself, transforming discarded pieces of furniture into works of art using paint, color, and composition. Eventually, I made the bold decision to leave scientific research behind and open my own furniture painting studio.

Painting a custom chair for Habitat for Humanity’s Chairs for Charity event. Photo: courtesy of the artist.

Immersing myself in creativity, I was struck by the surprising parallels between science and art. The scientific process—asking questions, researching, forming hypotheses, and experimenting—translated seamlessly into solving visual challenges. After seven years of working with furniture, I felt the urge to dive deeper, expressing my ideas on a larger, more socially and environmentally meaningful scale. This growing ambition sparked a thirst for knowledge and mentorship, pushing me to seek new ways to elevate my practice.

In 2021, with the support of a professional development grant from artsnb, I enrolled in the online Foundation Visual Arts program at the New Brunswick College of Craft and Design (NBCCD). There, I found incredible mentors, all women with their own creative practices, who guided me through the creative process (I’m looking at you Jennifer Lee Wiebe, Christina Thompson, Christiana Myers and Janice Wright Cheney). This experience, combined shortly after with participating in Artslink NB’s CATAPULT, an intensive 8-week business accelerator for artists, solidified my artistic aspirations and gave me the structure I needed to bring my ideas to life.

Left: “I Should Have Had a Choice” embroidery on toile de Jouy, 2023. Photo: courtesy of the artist.

Right: “Berceuse post-partum”, mixed media textile work on recycled burlap, 2024. Photo: courtesy of the artist.

The shift wasn’t without its challenges. Some of my early grant proposals were rejected, but those setbacks became invaluable learning opportunities. I sought advice from artsnb Program Officers, attended multiple Speed-Consultation sessions, and sought feedback from trusted peers. These efforts paid off in May 2024 when, thanks to an artsnb Artist in Residence grant, I embarked on my first artist residency, a three-month stay at Centre des arts et de la culture de Dieppe.

This residency marked the official launch of my project, “The Water We Wear”, which explores the hidden water footprint of the fashion and textile industry through mixed-media textile compositions. The residency not only provided the time and space to develop my work, but also allowed me to engage the public. I invited participants to contribute to the creation of two 7-foot-tall collaborative rug hookings, using their own worn clothing. As we spent hours rug hooking together, we reflected on the pace of creation and how clothing has become a disposable commodity. This act of shared slow making stands in contrast to the fast fashion industry and is a key element of my project’s goal to foster community and environmental responsibility through art.

Left: Start of my 3-month residency at Centre des arts et de la culture Dieppe, 2024 Photo: courtesy of the artist.

Centre: Participants hooking their clothes during one of my collaborative rug hooking sessions. Photo: courtesy of the artist.

Right: My 6-year-old son participating by hooking one of his old shirts. Photo: courtesy of the artist.

While still in residency, I received the exciting news that “The Water We Wear” would also be supported by an artsnb Creation grant, which will allow me to expand the project further. This fall and winter, I’ll continue collaborating with the public to complete the rug hookings in addition to creating three large scale mixed-media textile compositions. These pieces will explore water usage in the clothing industry, focusing on the production of a single t-shirt and pair of jeans, while also addressing the widespread use of synthetic fibers in clothing. By deconstructing and reconstructing discarded textiles, I want to slow down the cycle of fast fashion and recontextualize these materials through time and labor. Slow, handmade methods such as rug hooking, weaving, and embroidery, help me to spark conversation about overconsumption and value of materials. Through this project, I aim to create a lasting visual representation of the colossal water footprint embedded in the clothes we wear.

Work in progress for The Water We Wear. Photo: courtesy of the artist.

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Stay up-to-date with Mélanie’s practice:

Instagram: @melaniepaulin.art

Facebook: Melanie Paulin Art

Website: https://melaniepaulin.com/