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NEWSLETTER

4 bec

potters

March 2003

Volume 39 Number 3

Vincent Massey

20 Years a Potter

In 1982, 1 graduated foom Farnham Art College in
England where | had developed a unique English’
Japanese/Leachy style of pottery design. Before
leaving England, | was honoured by an opportunity
to work with the pottery legend Michael Cardew- I
spent two weeks al his Wenford Bridge Studio,
packing and firing his
massive four firebox
wood fired kiln. Attached
to it, there was a huge
traditional beehive kiln
packed with bisque ware
that acted as a chimney.

At that time, Michael had
asked if T would like to
apprentice with him for
two or three years. To
have this incredible of-
fer! It made me wonder,
after being in England for
four years, was | disci-
Plincd enough to make
Cardew pots, the Cardew
way? He wie an amas.
ingly inspirational man.
While back in Canada
contemplating going back
to his Wenford Bridge
Studion, Michael sadly

With the option of returning to England gone, [made
the decision to stant making pots in a small studio in
West Vancouver. Earning a living from my art was
my main goal and glazed production stoneware
seemed a logical choice. Then, along came a family,
a move to Whistler, building a home and studio,
putting food on the table, ete. Next thing I knew,
twenty years were gore wd | sill hadnt tapped into
some of my art school training regarding salt and
wood firing techniques.

Vincent Massey Jor January 2003, Helmer slip, sala tired,
died. H: Shem

Two years ago while under the fog of chemp-
therapy, which happily killed a rather large and
pesky tumour in my neck, | began the vital and
arduous task of reassessing where | was at with my
work. Was [ making the same old pots? Were my
forms becoming lazy and repetitious? Were my
glazes predictable
and flat? I have a gi-
ant wall of poisin my
studio that I call the
influential wall of
keepers. Amongst
these are a lot of salt
pots that I mache while
in England —lus-
cious, rich, creamy
one-of-a-kind spon-
taneous pots, never
to be duplicated.

I had always wanted
to build a salt kiln.
Mayhe it was Lime to
get off my butt! The
minute I felt well
enough, I jumped
night into the task.
Sure there were ob-
stacles, the concern
of money, space fora
&) cubic foot kiln,
clay and slips sut-
able for salting, selling something new and maybe
not as oolowrtul as my reduction ware.

A year later T have my kiln built from scrounged
crane factory bicks, an old kiln frame and shelves
from Robern Weesteen, and a few new bumers and
a shared chimney from my gas kiln. What seemed
like obstacles were resolved.

cee Vincent Massey page i)