I was having one of those days where I was trying to figure out what to make next—and I was reading an article on the “Inuit Sea Goddess” in Inuit Art Quarterly (IAQ vol. 14, Summer 1999). The paragraph that had “In the Baffin Island versions of the story…” caught my attention. I had heard a number of versions of the Sedna Legend, but this was new to me.
I was particularly taken with the part of the fulmar disguised as the handsome man. Where I have been using wood recently for the faces in my pieces, I figured that it was only fitting to make another with the wood—and to make him as handsome as possible. It was only natural to have him tall and dark as well!
Viewed from the human side, his right leg is lifted—from the fulmar side, his left leg is kicked up… I wanted it to appear as if one were emerging from the other. The left wing turns into the right hand and caught halfway point in the transformation.
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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