At first, I was looking to have just two owls — but out in the studio one evening looking over the stone, I got this idea of a spirit healing a wounded spirit. It really came together when I suddenly saw that I could have the thumb nail as the owl’s eye, and I decided that yes, I’m going for it.
I wanted this piece to have the feeling of caring and assistance, so we have a wounded owl spirit who has had stitches put in above the eye — while another spirit is helping to remove the stitches after the wound has healed. A third spirit on the other side watches over as the stitches are being removed. I wanted to have the figure that is removing the stitches to be actually a part of the wounded owl spirit, as this way we get the impression that one is healing oneself. This is something that we must all do from time to time … to heal our own spirits, because most times that is the best way to heal.
Massie’s work is a reflection of his mixed Inuit, Métis and Scottish heritage. In it, he investigates both traditional and contemporary themes. He has achieved renown for his innovative teapots that combine themes and symbols from his native Inuit culture with European traditions. Massie has been twice short-listed for the coveted Prix Saidye Bronfman and has an extensive international reputation. His work has been shown in North America and Europe, including the National Gallery of Canada. He was elected a member of Royal Canadian Academy of Arts in 2011.
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