I don't know, it's very difficult if you're in a strange country to just barge in and say, "Hello, I'm Warren MacKenzie, and aren't you happy to have me as a guest," you know? But artists did accept us and we remained friends for many, many years, many of them as long as they lived; like Lucie Rie and Hans Coper were very good friends, and it was wonderful.
Warren MacKenzie[ Bernard] Leach was the one who taught us that, because he, too, had started out as a painter and an etcher and had only gotten into ceramics by chance when he was in Japan trying to teach the Japanese how to do etching, which, as he said, they were not ready for yet.
Warren MacKenzieWhen we worked at the pottery, we did learn to make pots, that is, the physical act of making the pot. We learned to control clay, to put it where you want it and not just wherever it wanted to go, and that was valuable. At the end of about six months, though, I think if that was all we had, we may have been inclined to leave because the workshop did not challenge us so much as living with [Bernard] Leach did.
Warren MacKenzie[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. We could see the most sophisticated things that came out of the Orient - Japan, Korea, and China - some few pieces of European porcelain, majolica [tin glazed earthenware], and that sort of thing. But they had a marvelous collection.
Warren MacKenzieIn 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