Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after… — Warren MacKenzie Copy Share Image
I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure… — Warren MacKenzie Copy Share Image
In the Leach Pottery we did most of our work on the wheel. [Bernard] Leach did a little work in the studio,… — Warren MacKenzie Copy Share Image
Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of… — Warren MacKenzie Copy Share Image
If [Bernard Leach] didn't like the drawing, he'd X it out and do another one and change the form a little bit.… — Warren MacKenzie Copy Share Image
Alix [MacKenzie], on the other hand, found that her painting would translate much more readily into decoration, and she could play with… — Warren MacKenzie Copy Share Image
These narrow-footed forms I was making, I thought, gosh, I could push those further, not to construct them the way [Hans] Coper… — Warren MacKenzie Copy Share Image
Alix [MacKenzie] was a looser, more linear painter, dealing with amoebic forms, let's say, close to [Joan] Miró as opposed to my… — Warren MacKenzie Copy Share Image
So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was… — Warren MacKenzie Copy Share Image
[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and… — Warren MacKenzie Copy Share Image
Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you… — Warren MacKenzie Copy Share Image
If you take Lucie Rie and Hans Coper, their work didn't even relate to what we were trying to do, because they… — Warren MacKenzie Copy Share Image
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not… — Warren MacKenzie Copy Share Image
[Kathleen Blackshear] just said, "Have you thought of looking at this?" and so on and so on and so on. And it was a… — Warren MacKenzie Copy Share Image
Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper… — Warren MacKenzie Copy Share Image
I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure of a… — Warren MacKenzie Copy Share Image
Remember, this is back in the '40s, and the idea of a museum being a place where interested people could come in direct contact… — Warren MacKenzie Copy Share Image
At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big… — Warren MacKenzie Copy Share Image
I got drafted into the army and by pure chance was pushed into a silk-screen shop at this camp where I was, because they… — Warren MacKenzie Copy Share Image
[In the Field Museum of Natural History] we could see very simple, primitive, hand-built pottery from Babylonia and ancient Egypt and so forth, Greece.… — Warren MacKenzie Copy Share Image
Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago… — Warren MacKenzie Copy Share Image
It was a wonderful opportunity. And so for two and a half years we lived with [Bernard] Leach. — Warren MacKenzie Copy Share Image
We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think that it… — Warren MacKenzie Copy Share Image
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes… — Warren MacKenzie Copy Share Image
It was there that we really first came in contact with the work of Shoji Hamada, who was Bernard's best friend from Japan, who… — Warren MacKenzie Copy Share Image