With this teapot, the dreamy (or surreal) look was intentional. The idea here was to have it appear as if there were two people having a talk with each other. The handle represents the profile of one of the people in this conversation, but as to the second… that is up to you, the viewer, to figure that out.
With the handle I wanted to have the very tip act as both a mustache and the hair of a woman at the same time. As I worked with the shape of the teapot and its legs, I was reminded of those old-style chairs/couches that have legs similar to these, like those in ancient Egypt (and later copied in the classical revivals in Europe). Not quite sure of the style or names of these chairs, but I can picture them.
For the etched design on the pot itself, I included parts of conversations, along with blah-blah-blah. The idea was to take those snippets of conversations sometimes overheard from people who are sitting in a coffee shop (for example) and include them here. The reason I added the blah-blah-blah was that having the full conversation was unnecessary, as the piece is about conversation, not the details of it.
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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