Audrey Arsenault, Aud Metal, is a Mi’gmaq metalsmith from northern New Brunswick/Listuguj First Nation. She works mainly with the ancient technique of chasing and repoussé in copper, a process in which the metal is hammered repeatedly from both sides to transform into low relief designs. In her work, Arsenault draws inspiration from the healing and self-discovery of Indigenous women, focusing on both physical recovery and spiritual reclamation following cultural trauma. She expresses these themes by portraying the faces of strong Indigenous women alongside Mi’gmaq motifs and local wildflowers. Each plant depicted is native to this part of Turtle Island and has historically been used by Indigenous peoples for its medicinal properties. To reinforce cultural revival, she titles each of her works in the endangered Mi’gmaq language, making the titles front and center so that this language will never be forgotten.

Arsenault graduated in 2020 from the Jewelry/Metal Arts program and in 2021 from the Advanced Studio Practice program at the New Brunswick College of Craft and Design (NBCCD). She is a 2023 graduate of the University of New Brunswick (UNB) in Fredericton with a degree in Applied Arts.

In 2021, 2022, and 2023, Arsenault’s work was shown in the “Wabanaki Exhibition” in the Yorkville Village of Toronto, Ontario, led by Gallery on Queen. In 2022, her work was part of Gallery on Tour/Tata, a collaboration between Gallery on Queen in Fredericton, NB, and the Ice House Gallery in Tatamagouche, NS. She was also part of the 2022-23 Beneath the Surface artist residency in Fundy National Park.

Arsenault has received multiple grants from ArtsNB in the Creation, Equinox Program for Indigenous Artists, and Career Development categories. In 2021, Arsenault received NBCCD’s Acquisition Award, placing her series of four medallions, Samqwan (Water), Ugs’tqamu (Earth), Pugtew (Fire), Ugju’sn (Wind), in their permanent collection. Her works, Ethnocide (2021) and Na’gu’set (Sunshine) (2022), were selected for the 2023 acquisition to the provincial art collection, CollectionArtNB. In 2024, her work Taqawan – Young Salmon was acquired by the permanent collection of the University of New Brunswick.

Tell us a little bit about yourself and what sparked your interest in metalsmithing, more specifically chasing and repoussé.

I am half Mi’gmaq, from the northern New Brunswick/Listuguj, Quebec area. I now live in the southern part of the province with my partner and our two fur babies. I work from a small home studio that has everything I need for my artistic practice—except a torch and proper ventilation—so I regularly rent studio time from friends when needed.

As a quiet and shy only child growing up in northern New Brunswick, I spent much of my time alone with a sketchbook, developing patience and calm through drawing. That love for detailed, realistic drawing eventually evolved into my passion for chasing and repoussé. It allows me to push light and shadow into copper, transforming a flat surface into a three-dimensional image that speaks to both my personal experiences and Mi’gmaq heritage.

What inspires your designs?

My artwork is inspired by people who live authentically—those who have healed their own trauma and care deeply for themselves and others. I’m moved by strong mentors, the depth of cultural knowledge passed down through generations, and the traditional use of plants given to us by the Creator to heal us both physically and spiritually. That sense of healing, care, and resilience is always at the heart of my work.

What is your creative process from idea to finished piece? Can you walk us through how a piece comes to life? 

My process is intentional and meditative. Ideas are often born from issues I’ve spent time quietly reflecting on. I begin by sketching and refining my designs by hand, then I resize my designs digitally to create paper stencils. I cut and hammer the copper by hand, carefully planning each detail—from drilling attachment points to shaping, sanding, and staining the wooden backing. Some copper elements are finished with vibrant gilder’s paste wax, allowing the metal’s natural glow to shine through while adding a contemporary twist to this traditional technique. Once everything is ready, I add hanging hardware, assemble, and mount the copper elements onto the wooden board. As a final ritual, I often exhibit my pieces in my apartment and celebrate with a little store-bought cake, sometimes shared with friends, sometimes just for myself. 

Do you have a signature style or technique that defines your work?

Yes! My signature style combines copper chasing and repoussé portraits with wildflowers, all mounted on a black wooden background. I add colour to select copper elements using gilder’s paste wax, which brings a vibrant, contemporary twist to the traditional metalwork. This combination of materials and imagery excites me—it feels like a true reflection of who I am as both an artist and an Indigenous woman. My pieces are titled in the Mi’gmaq language as a way to reinforce cultural preservation and keep the language visible in contemporary spaces.

Can you describe a piece [or series] you're particularly proud of and why? 

I’m especially proud of my recent wildflower series—Siggw (Spring), Nipg (Summer), and Toqwa’q (Fall)—because it was the first time I brought together all the elements that define my current style: copper chasing and repoussé, wildflowers, black backgrounds, and subtle colour through gilder’s paste wax. These were the first pieces that truly felt like mine. While they still carry themes of identity and healing, the wildflowers allowed me to express those ideas in a softer, more hopeful way. I was tempted to keep the series for myself, but I ultimately decided to include the works in Gallery on Queen’s Wabanaki 2025 exhibition.

What excites you most about your practice?

What excites me most is seeing everything come together after months of intense chasing and repoussé work. Holding the finished piece—knowing the time, effort, and care that went into every detail—is incredibly rewarding. That excitement for the final vision is what keeps me going.

How do you handle any challenges or unexpected issues that arise during the creative process?

When challenges come up, I experiment with different methods to find a solution. If I start feeling frustrated, I step away and give myself space. I’ll often research online or reach out to others for advice. Sometimes, I choose to embrace the so-called mistakes—like when a repoussé face doesn’t turn out perfectly smooth, I’ll leave the texture in and call it *skin texture*. That mindset shift often turns imperfections into meaningful, happy accidents.

What has been your biggest success or biggest mistake in your journey as a metalsmith artist, and how did you grow or learn from that?

My biggest mistake so far has been taking on too much at once and not leaving enough time for my art practice. A clear example was during the Beneath the Surface artist residency in 2022–23. At the time, I was finishing my final year of university and caring for a new puppy shortly after losing our senior dog. The residency included five days of camping and creative exploration as a group in Fundy National Park, followed by several months where each of us created our own outdoor art installation inspired by the experience.

Despite the chaos, I managed to create a boundary-pushing piece—but it wasn’t finished exactly the way I envisioned. A few extra days could have made a big difference. Beneath the Surface offered great exposure as an emerging artist, and I believe it could have led to more opportunities if I’d been able to fully realize the work. Since then, I’ve learned to start applications and projects early, and to schedule them into my weekly routine so they’re completed on time—or even ahead of time.

As a Mi’gmaq metal artist from New Brunswick, how has your upbringing influenced your art?

I grew up apart from the Mi’gmaq side of my family and only reconnected with them as an adult. As a child, I attended powwows, but I didn’t fully understand what it truly meant to be Indigenous. That experience of separation, reconnection, and the healing that followed continues to shape everything I make.

How has living and working in New Brunswick helped and/or inspired you on your journey?

Living and working in New Brunswick has deeply shaped my journey as an artist. Growing up in northern New Brunswick, where arts-focused programs and opportunities for youth were limited, I spent most of my free time creating on my own. My community came to know me as one of the few local artists, which gave me a strong sense of identity and purpose from a young age. Sometimes I reflect on how my path might have been different if I had grown up in a larger city and attended an arts-focused high school. In those environments, I may have compared myself to others more or felt less sure of my abilities. Instead, being rooted in a smaller, supportive community helped me build confidence and a unique voice as an artist—and for that, I’m incredibly grateful.

What have you learned about yourself and the artistic community through your work?

Through my work, I've learned how powerful my artistic voice can be—especially when I share healing messages through Indigenous subject matter. Creating art that reflects my culture has shown me how deeply it can resonate with others, opening up space for connection, education, and reflection. I've come to see that all perspectives matter in the artistic community, and that there's space for every story. Sharing mine has reminded me that storytelling through art can be a form of medicine—for both myself and those who experience it.

How has your journey as an artist evolved over time? Were there key moments or experiences that shaped how you create today? 

As a teenager, I went from making cheesy emo-inspired drawings to taking commissions from family friends—realistic portraits of loved ones, and drawings of our local church and community centre for auctions. My perspective shifted at NBCCD, where I learned that the true power of art lies in its ability to create social change. When I began creating works that spoke to my Indigenous heritage, I noticed those pieces sparked far more reaction and engagement than anything I had made before.

My series of four Mi’gmaq medallions, created as my graduation work, won NBCCD’s Acquisition Award and caught the attention of Gallery on Queen. They invited me to take part in their Wabanaki exhibition that summer—my first group exhibition outside of the college. I spent that summer in NBCCD’s artist residency, where I created Ethnocide—a piece that evoked strong responses and was bought one year later by the provincial art collection, CollectionArtNB.

Those experiences around my graduation from the Advanced Studio Practice program in 2021 shaped my path. Through exploring cultural storytelling and social awareness in my art, I began to heal parts of myself I hadn’t realized were still hurting. Creating work rooted in my Mi’gmaq identity allowed me to process personal and collective experiences, while also inviting others into that conversation. I’ve learned that when my work is grounded in truth and lived experience, it not only resonates more deeply—it becomes a space for connection, reflection, and healing.

Describe what you are most proud of in your career.

One of the accomplishments I’m most proud of is having my work acquired by the provincial art collection of New Brunswick, CollectionArtNB, with support from Gallery on Queen. One of my two pieces they purchased is titled Ethnocide, which depicts a residential school child, a nun, and a Canadian Mountie with his back turned to the other two figures. The fact that a piece with such heavy and painful subject matter was acquired by the province speaks volumes about how far New Brunswick has come in acknowledging and engaging with its colonial history.

What advice would you give to emerging artists, or to someone just starting out in metalsmithing?

Try everything and say yes to every opportunity that comes your way, especially early on. Talk to artists of all ages and backgrounds—there’s so much to learn just from conversation and observation. I highly recommend the New Brunswick College of Craft and Design for their amazing faculty, staff and programming. In their two-year Jewelry/Metal Arts program, I was exposed to a wide range of techniques, from production jewelry to metalsmithing sculpture, which helped me discover what I truly enjoy. Over time, I realized I prefer creating one-of-a-kind works over mass production. The Advanced Studio Practice program also gave me a strong foundation in navigating the professional side of being an artist—grant writing, exhibiting, residencies, and more.

Every artist is constantly evolving, and part of the journey is figuring out where your voice fits. That’s normal—and exciting. Stay curious, stay open, and keep making.

Are you, or do you know, a professional artist based in New Brunswick who is creating impactful and innovative work? We love discovering and sharing your stories! Send us a message at artsculturenb@gnb.ca.