founded in 1927 
Click on any image to enlarge 
Large Scale Vessel. Black arrow next to three single bud stems to exterior and heavily lustred swordfish to interior, multi-layered, but in the main about Cornwall, my home. 
Ceramic 2020 
20.5 cms H x 39cms W x 36cms D 
Basin Shaped bowl. Flying brown bird, single fir tree and nucleus tree to interior of pot, white disc to exterior, backdrop to starry sky and single stem bud in a mug. Lizard effect handle. 
Ceramic 2020 
17.5cms H x 21cmsW x 21.5cmsD 
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 bllue masked out pour to interior. 
Ceramic 2020 
17cms H x 21.5cms W x 20cms D 
Basin shaped bowl. Chiselled gloss turquoise block handle, wind blown trees and wave jumping. White maiolica with baby blue comercial powder pigment added. Copper and cobalt oxide used around handle to denote waterfall, reminiscent of St Nectans Glen near Boscastle. 
Ceramic 2020 
15cms H x 21cms W x 21cms D 
Small scale bowl. Animal heading the wrong way. 
Ceramic 2020 
11cms H x 16cms W x 17cms D 
£160 SOLD 
Small scale beaker - Les Trois Graces 
Ceramic 2020 
11cms H x 10cms W x 10cms D 
If you are interested in purchasing work by Linda Styles or for more information Click Here> 
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. 
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