founded in 1927
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1LS
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
£700
2LS
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
£400
3LS
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
£400
4LS
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
£400
Two part form Pot
depicting a storm laden flower field horizon to exterior,
interior is sunny and bright. Separate base is a white crackle over lilac and orange, gold detail to both parts of form.
11cms H x 12.5cms W x 12.5cms D
Ceramic 2020
£180
This pot is also a two part form. Dog, flower meadow and 2 golden flags detail.
15cms H x 17cms W x 19.5cms D,
Ceramic 2020
£290
15cms H x 17cms W x 19.5cms D,
Ceramic 2020
£290
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.
