I think back to some of the pots we made when we first started our pottery, and they were pretty awful pots. We thought at the time they were good; they were the best we could make, but our thinking was so elemental that the pots had that quality also, and so they don't have a richness about them which I look for in my work today. Whether I achieve it all the time, that's another question, because I don't think a person can produce at top level 100 percent of the time.

Warren MacKenzie

Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of a good pot. But in addition it means that you can explore an idea and change it and then change it and then change it; I don't mean by changing the one pot, but you make one pot then you make another that's related to that; you make another - you can make 50 pots in a day and none of them are going to be carbon copies of any other, but they'll all be related because there's something going through your mind about the form on that particular day.

Warren MacKenzie

order mean thinking

Here is this ability to explore ideas, but with minute changes, and then look at the results. Often you get so excited about what you're doing that you think, "Oh, wow, this is just great." And you look at it a week later and you realize you'd been excited by the act of creation, but what you've created is not really exciting when you look at it in cold blood. And so that, to me, is a valuable lesson also.

Warren MacKenzie

blood ideas thinking

We were working from very exact models and dimensions and weights of clay to make these pots which had been designed some 10 or 12 years previous to our arriving [at Bernard's Leach studio]. And we, being, I guess you would say young, arrogant Americans, thought that we ought to be able to somehow express ourselves a little bit more in the daily work of the pottery.

Warren MacKenzie

arriving clay years

I thought, oh, I'm going to be a painter. And eventually my family had moved near Chicago, and when I graduated from high school, I went to the Chicago Art Institute, and it was there that I thought, well, now I'm going to be a painter.

Warren MacKenzie

chicago art school

In searching for further training we turned to England and Bernard Leach. We thought since we had responded to his book so strongly that this would be the sort of training that we would like to have. We saved money, during the summer went to Europe, and the first stop was to go to England, visit the Leach Pottery and ask Leach if he would take us on as apprentices.

Warren MacKenzie

summer europe book

Remember, this is back in the 1940s, and it was sculpture which probably - in my instance probably came out of the European influence, [Alexander] Archipenko and things of that sort, [Jacques] Lipchitz to a certain extent, and I was influenced by those things and attempted to do work that emulated their style.

Warren MacKenzie

sculpture style remember

I make a lot of pots in a year's time and some of them are good and some of them are mediocre and some of them are bad. If they're really bad and I'd be ashamed of them, I throw them out, but if they're mediocre and they'll serve the purpose for which they're designed, that is, a mixing bowl or a soup bowl or a plate or whatever, I sell them. And this income from the sale of these pots permits me to go on and make other pots. It's even more important now that I've quit teaching, because I do not have a teacher's salary to fall back on.

Warren MacKenzie

teaching teacher fall

The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.

Warren MacKenzie

class teacher art

In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it the way you think is right at that time. With clay that's not possible. You either succeed the first time, or you should wad it up and start over again, because you can't mess around with the clay and still have it fresh.

Warren MacKenzie

drawing ideas thinking

Eventually we even got to the point where we could disagree with [Bernard Leach]. I mean, when we first went there, gee, I mean, this was a man who had written a book. He was, in a sense, God, and we for the first couple of weeks called him Mr. Leach.

Warren MacKenzie

couple mean book

We'll be potters, we'll be painters, we'll be textile designers, we'll be jewelers, we'll be a little this, a little of that. We were going to be the renaissance people [when we were young].

Warren MacKenzie

textiles potters people

I do remember that when we left [Bernard Leach] after two and a half years, we went home on a boat again - this was before air travel became really easy - and Alix [MacKenzie] turned to me and she said, "You know, that was a great two years of training, but that's not the way we're going to run our pottery."

Warren MacKenzie

air home running

We never had a catalogue; we never said we were going to duplicate these pots this year and next year and the year after that and so forth. We did make many pots which were repeated, but we allowed them to change and to grow as we changed and grew, and I think that was the big difference. And that's all right; we were working for ourselves. We didn't have anybody we had to pay.

Warren MacKenzie

differences years thinking

Alix [ MacKenzie] had stopped teaching because we had a child and she stayed home to take care of the baby, and I taught.

Warren MacKenzie

teaching baby children

We could make our own pots on the weekends and in the evenings, and we used to do that, and these would be fired in the big kiln, along with all the standard ware that we were producing, but this wasn't quite what we had expected when we read The Potters Book.

Warren MacKenzie

weekend would-be book

Looking back on it now, I understand why that was not possible [to express ourselves], because the pottery employed a dozen people, not all of whom are making pots. And these people had families, children, and they had to have a wage that would allow them to raise their family and they had to get a paycheck every Friday afternoon. So if we had not made pots that would sell it, would not have been possible for these people to be employed.

Warren MacKenzie

friday children people

Bernard's [Leach] drawings delineated every little accent on the pot, every subtle curve and change of angle and proportion and all.

Warren MacKenzie

curves drawing littles

[Shoji] Hamada's [drawings] were little one-line notations of something he wanted to remember about a pot or a piece of furniture or a landscape or something like that, and they were just done very quickly and they had, he thought, no artistic quality. They're not great drawings, but they served to remind him of something he had in his mind, so that when he then went to the studio, that would stick in his mind and he could explore the making of the pot with the clay on the wheel.

Warren MacKenzie

drawing quality mind

When Bernard [Leach] wrote his book, he wrote about the fact that even when pots are made in a series, there is a personality to each pot and that the person who made it reflects their personality into the clay.

Warren MacKenzie

clay personality book

[Bernard Leach] talked about painting, but we never talked about ceramics in that evening. But at the end of the evening he said to us, "Well," he said, "I've changed my mind, and if you want, you can come back a year from now and apprentice in the workshop."

Warren MacKenzie

ceramics mind years