At first the idea for this piece was to be a teapot. As time went on, the shape of the copper changed… and so did the idea of it being a teapot! My teapot design was meant to be the reverse of what it eventually turned out to be… a bowl. As I was forming the main shape of the bowl, I began to really get into the rhythm of the forming, and this is a technique I haven’t attempted for 18 years. I began to like the way it looked upside-down to the design I had originally drawn.
When I finally decided to have it be a bowl, I began to think of how the lid would attach, and to keep it simple and clean, I went with the three pegs that act as the inside lip. As I was trying to come up with what the actual lid would look like, I played around with a number of ideas before I decided on this design. Around this time I also go the catalogue from the gallery for the Moon Mothers: Keepers of Knowledge exhibition — and I was looking at the way the faces were made and began to think of the moon and how the copper could have a blue patination. And the moon was the first thing that came to mind. The face I wanted to be just a relief with inlaid eyes. I added the copper as a pattern on the curve of the moon. At first I was going to make a tattoo pattern on the cheeks, but Jo-Ann and I thought it would look better if the moon was outlined, as this way it adds a more decorative touch but also represents the tattooing. I added the copper to the legs giving it more of a connection to the lid and it also helps draw the eye to the bottom of the finished work.
The title was chosen because of the colour of the copper and because, every once in a while there is something different coming out of my shop, or, as you could say — every once in a blue moon!
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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