Photographer John Arsenault’s ceramic vessels prove it’s never too late to shift focus

After decades spent creating avant-garde portraits, New York-based photographer John Arsenault found himself ready to refocus his creative energy. He returned to another medium he had practised while studying at the Art Institute of Boston – one that offers a slower, more tactile process and allows the artist to create at his own pace. 'We're so bombarded by imagery that I felt like I needed to put my energy into something different,' he says. 'I was yearning to do something with my hands again.'

For the past couple of years, Arsenault has crafted a variety of highly textured and sculptural ceramic vessels – a world apart from the glossy, two-dimensional photographs he typically produces.

His first collection of 26 pieces was awash with nautical and hair-related references, based on childhood memories in Massachusetts spent on his father’s commercial fishing boat and in his aunt’s beauty parlour. Braided ropes were wrapped and entwined into the roughly textured clay, while seashell, coral and anemone-like forms emerged – with undertones of pink that nod to his queer identity. The glazes were equally rustic, adding another expressive layer to the organic designs.

For Arsenault's latest series, titled Charred, the artist has continued his hand-building process but shifted to a much darker palette with subtle red hues. The resulting vessels appear as though they’ve been recovered from a burning building and represent 'the idea of coming out of the fire,' he says.

Distorted shapes of classical amphorae, kraters and kylikes spring from memories of art history classes rather than directly copied, and a sensuality emerges from their curves and protrusions. 'There's a real sexual energy to them,' Arsenault notes.

These pieces are currently on display – and for sale – at fashion boutique R. Swiader, the label founded by Arsenault’s husband, Raf Swiader, in New York’s SoHo neighbourhood. Also operating as a multi-functional community arts space, the boutique offers a convenient platform for sharing the work and allows Arsenault the freedom to operate without a gallery – after 17 years of representation for his photography – at least for now.

Arsenault acknowledges that he wouldn’t have been able to create this work decades ago, when he first embarked on his photography career, because his energy was entirely different then. It is only now, at a different stage of life, that this 'reemergence' feels right.

For those seeking creative inspiration in the new year, his journey is a reminder that no matter how accomplished you may be in your career, it’s never too late to shift course, try something new, or return to a latent passion. Change can be incredibly productive and fulfilling.

The Charred collection is on view at R. Swiader, 135 Grand Street, New York, until 3 February 2026.