founded in 1927
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Lugged baggy pot with a chintzy/folksy feel.
Floral theme, butterflies and fawn retro
decals., semi-relief surface with precious
metals lustres.
20cms H x 20.5cms W x
20cms D.
Ceramic 2019
£400
Gold lugged pot with creatures, flower fields
and myth. Limited palette with use of lustres
and decorative crackle formula.
9cms H x
16cms W x 13cms D. Ceramic 2020.
£180
Decorative abstracted wall spoon/elongated
footed platter, multi-surfaces and clear
glazed.
1.5cms H x 36cms W x 14cms D.
Ceramic 2020
£120
Small platter with four disc detail and
natural edge, semi-relief red on brown
square.
3cms H x 20.5cms W x 18.5cms D.
Ceramic 2020
£100
Large Scale vessel, black arrow next to three single bud stems to exterior and heavily lustred swordfish and still life to interior, multi-layered, but in the main about Cornwall, my home.
Ceramic 2020
20.5cms H x 39cms W x 36cms D
£700
Basin shaped bowl. Flying brown bird, single fir tree and nucleus tree to interior of pot, white disc to exterior, backdrop of starry sky and single stem bud in a mug.Lizard effect handle.
17.5cms H x 21cms H x 21.5cms W.
£400
Basin shaped bowl. Totemic figurehead to the interior, tree with roots, multi lustred spotted animal to exterior and perhaps a snake in the grass. Red infilled on dark gloss handle and tin blue masked out pour to interior.
Ceramic 2020.
17cms H x 21.5cms W x 20cms D
£400
Linda Styles
My practice mostly relates to the exploration of the emotive and instinctual, my main purpose being to use unorthodox expressions of colour, line and space. Although I am outwardly immersed in colourful chaos, this freedom of expression is necessarily underpinned by considered and formal elements of design, manifesting in tangible objects that reflect and focus on love and all that is beautiful in this World,
The method I use is intense, complex, solitary and silent, the studio being my devotional space, my purpose remaining constant regardless of material, method or outcome. I strive to achieve a palpable tension of opposites that is affecting on many levels. I also remain conscious of the fact that throughout history/prehistory pottery has carried the potential for expressive visual surface on a multitude of form, the complexity of which delves beneath transient fashion.
