​Summer, 2014
Hayden Lake, Idaho, USA

Based on an invented family magic bird mythology, pyrometric cones commonly used inside her father's ceramic kilns to monitor temperature are staged in a series of mini ephemeral land art installations entitled Suite cone pyrometriques. Unfired, the cones are straight and colored; once-fired, they melt in different shapes and turn white. Photographed, they find evocative shapes and new roles as sculptural objects, forming scenes of a larger project Tremblay calls Madeleine's minerals, a Proustian body of work including fired and unfired ceramic pieces and photographs.