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When I first started to look for and collect studio pottery, I quickly learned from other collectors which “names to watch for” – Grove, Dexter, Ngan, Deichmann, Harlander, etc. Any of these would be considered a good find if I could land one. One other name that also kept coming up time and again was Mick Henry. Back then I didn’t know much about him – or even what his mark looked like at first – but I was always on the lookout for an example of his pottery. In those early years I was able to acquire pieces by all the other “collected” potters on my watch list except for him… I’ve since been able to find a number of examples of Mick Henry's pottery- although they are still difficult to track down. This rarity is part of the mystique of his work. Recently I was able to acquire a very important example of Mick Henry pottery which intrigued me enough to do a deeper dive into his career and art. What follows is some of what I've learned... Michael "Mick" HenryMichael Henry, better known as Mick, graduated from the Vancouver School of Art in 1961 after studying painting and graphic art. He initially had limited experience with clay aside form some classes he took under the instruction of Robert Weghsteen. After completing art school, he decided to travel to England in 1963 where he met up with his VSA acquaintance Glenn Lewis. It was Lewis who helped him find living space and led him to apply for an apprenticeship at the Leach Pottery in St. Ives.  After being accepted, he began to master his technique by repeatedly throwing countless, simple dishes of Leach standard ware. Once this form was deemed competent, Mr. Leach allowed an apprentice to move on to other, more complex forms in the range - bowls, mugs, etc. In the evenings he received further instruction from Bernard Leach himself on Asian brush techniques. Tea breaks around the coal fireplace at St. Ives would frequently spark the lively exchange of ideas from those in the collective - including Leach, Shoji Hamada, Michael Cardew, Warren MacKenzie, John Reeve, Glenn Lewis and Ian Steele. At the end of the work day, he would be allowed to produce his own individual pieces as a way to supplement his wage and eventually earn enough for passage back to Canada in 1965, settling in Vancouver. Once again, the kindness and generosity of Glenn Lewis allowed him to produce his wares using Lewis' studio and gas kiln under the Granville Street bridge on West 4th Avenue. In 1966 Mr. Henry was forced to relocate to East 13th Avenue after the City of Vancouver demolished Lewis' studio in favour of a parking lot. There he reassembled the gas fired kiln, brick by brick, and resumed production. It was here that he began to practice raw glazing of his larger pieces, using clay from Bear Creek in Surrey at the site of the defunct Wickson Brick Works. The clay was also used essentially as is for his glazes. (I suspect this is where he sourced the material for my bowl - see below...)
After successful showings at the Bau Xi Gallery (Vancouver), Expo '67 (Montreal), Canadian Ceramics '67 (Toronto and Montreal), and Canadian Ceramics '69 (Calgary), as well as some successful sales via the Vancouver Art Gallery, Mr. Henry became intrigued by the rural pottery practices of Heinz Laffin and of Wayne Ngan out on Hornby Island.  Promotional poster for Mick Henry's 1967 showing in Toronto. Settling on a tract of land just outside Robert's Creek on the Sunshine Coast, he aimed to construct a smaller and simpler version of St. Ives. Dubbed "Babyland," the property was a site shared with other artists. His Vancouver studio would be passed along to Charmian Johnson, and by 1972, he established Slug Pottery with Martin Peters as his apprentice. Unfortunately, Slug Pottery would be short lived, closing just a few years later in 1979. The labour intensive task of throwing on a kick wheel in the gas lit studio of a "back-to -the-land" pottery, proved to be too onerous and eventually led to back issues that ultimately stopped production. The "Thrown" BowlThe piece which prompted this post was featured in the landmark Thrown exhibit at the UBC Belkin Art Gallery in 2004. This exhibit told the story of the four Leach apprentices - John Reeve, Glenn Lewis, Ian Steele, and Mick Henry as well as their contemporaries - Wayne Ngan, Tam Irving, and Charmian Johnson. Mick Henry’s work featured prominently at Thrown, filling tables 6-10, 34, and 35, as well as shelves 6-10. This shallow bowl was by far the largest of its type of the pieces on display. It was bought by the original owner at an outdoor pottery sale in Vancouver in 1967. She remembers meeting Mr. Henry that day who had his wares spread out on a blanket. The bowl was the best piece he had for sale that day, in her estimation, and she remembers it was a pricey acquisition at the time. Since then it has been admired and appreciated, sat on table 6 at the Belkin for the Thrown exhibit, and now resides with me as its new steward.  The bowl is simply crafted from two pieces of slabbed clay – one for the top surface and one for the foot. It measures 44.5 cm across and is 3 cm high. Underneath you see the texture from the surface where it was shaped. The edges are roughly bevelled to give it a minimal degree of finish. The glazing and décor is simple bearing the unmistakable hallmarks of St. Ives.  After living with the bowl a while I noticed that I was somehow drawn to it, moreso than many of the other quality ceramic pieces I have. I found myself pondering on Mr. Henry’s Leach/Mingei connections, the culture he would have been immersed in while at St. Ives, the potters in his milieu while in England and again back in Vancouver, the West Coast artist's scene in the 1960s, etc. All the while I found myself struck by the quiet beauty of such a simple object. This eventually led me to thumb through my old worn copy of A Potter's Book to learn more about Leach's philosophy and the Japanese concept of Shibui... Shibui - From Yanagi to House Beautiful...Shibusa is a Japanese aesthetic concept that embodies a subtle, understated beauty, often described as a quiet elegance or refined simplicity. Originating from the Japanese word "shibui," which means astringent or bitter, shibui has evolved to represent a nuanced appreciation for things that are not immediately or overtly beautiful, but reveal their charm and depth over time. The essence of shibui lies in its restraint and minimalism. It celebrates the beauty found in imperfection and the passage of time, often favoring natural materials and subdued colors. Shibui objects or experiences are characterized by their simplicity, subtle details, and an inherent sense of balance and harmony. They do not shout for attention but instead invite contemplation and a deeper, more personal connection. Shibui can be seen in traditional Japanese crafts such as pottery, textiles, and architecture. A shibui teacup, for example, might have a rough texture and an irregular shape, with a glaze that has aged gracefully over years of use. The wabi-sabi philosophy, which appreciates the beauty of impermanence and imperfection, closely aligns with shibui. The concept of shibui was popularized by Soetsu Yanagi, a prominent Japanese philosopher and the founder of the Mingei (Folk Craft) movement. Yanagi believed deeply in the value of everyday, handcrafted objects created by anonymous artisans. He championed the idea that these humble, functional items possessed an inherent beauty and cultural significance. Through his writings and lectures, Yanagi articulated the principles of shibui, emphasizing the importance of simplicity, naturalness, and understated elegance.
Yanagi's influential book, "The Unknown Craftsman," explores the philosophy behind Japanese folk crafts, delving into the aesthetic qualities that make an object shibui. He argued that such beauty is often found in the ordinary and unpretentious, highlighting how the quiet elegance of shibui objects contrasts with the often flashy and superficial appeal of mass-produced items. Yanagi's work brought greater awareness to the aesthetic and cultural value of traditional Japanese crafts, helping to preserve and celebrate Japan's rich artisanal heritage. His efforts not only popularized the concept of shibui in Japan but also introduced it to a global audience, influencing artists, designers, and aesthetes worldwide.
 Three views of the same Mick Henry plate. Circa 1967. There is no direct English equivalent word for shibui but an August 1960 article in House Beautiful did a good job of explaining the concept of shibui to a western audience using seven principles...
The article also offered non-examples that are also helpful when trying to grasp the concept. Shibui is never...
Ultimately, shibui encourages a deeper appreciation for the subtle and the overlooked. It teaches that true beauty is not found in ostentation or perfection, but in the quiet, enduring elegance that emerges with time and careful attention.
Bernard Leach subscribed to Yanagi's philosophy of shibui and it would have been talked about and practiced at St. Ives. According to Leach, in order for a pot to be good should also be a "genuine expression of life," implying sincerity on the part of the potter and truth in the conception and execution of the work.  Assortment of pots created at Slug Creek circa 1972. ConclusionTo see, hold, and study a Mick Henry pot is to grasp shibui. The "Thrown bowl" exemplifies all of the principles of beauty outlined by Soetsu Yanagi. It's utility meets the first Leachian principle of beauty - an everyday object meant to be used and enjoyed by all for its quiet beauty. And so it is, sitting on my table, holding seasonal produce. Today Mick Henry's pots are treasured for their rarity and for how well they reflect the principles that drove the Leach/Mingei practices in the "back to the land" counterculture movement in British Columbia. If you have a piece of pottery made by Mick Henry that you would like to sell, please contact me. Allison, G. (2011). Thrown: British Columbia’s apprentices of Bernard Leach and their contemporaries. p. 144-151. Morris and Helen Belkin Art Gallery. Leach, B., Cardew, M., & Yanagi, S. (1962). A Potter’s Book. P.8-20. Transatlantic Arts Inc. The profits of a long experience with beauty. (1960, August). House Beautiful. Images courtesy of Thrown, Morris and Helen Belkin Art Gallery. Identifying Mick Henry pottery
Mick Henry's pottery could be signed with one of the chop marks shown above..
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Studio Pottery CanadaPottery enthusiast learning about the history of this Canadian art form and curating samples from the best in the field pre-1980. Archives
June 2024
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