For a long time now I have wanted to approach the design of a teapot that had two spouts… and as the drawings for this one had such large surfaces, it seemed a good opportunity.
I return to the Ulu form once again with this teapot — and have added an extra spout, with one acting as the lid. I wanted to keep the Ulu as pure and simple in design as possible, and this is why I didn’t want to have to cut into the top to add a lid, as it would have compromised the design.
For the etched design, I referred back to a piece I had made in 1998: “8th century A.D.”, where the surface design came from an eighth-century pottery piece that I had admired. I didn’t want to copy the design exactly the same, but there were elements in the patterns I wanted to revisit. The etching turned out much better than I had anticipated — this is likely because I had just made a new batch of etching solution, which allowed for the etch to be much cleaner and more pronounced. Overall, it has the feel of “8th century A.D.” — but time moves on, so this one became “21st century A.D.”
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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