Linda John makes Ceramics, and has been working with clay, and other materials, for many years.
She is a Selected Member of the C.P.A
Directly below are some recent pieces, in both stoneware, and porcelain.
If you take a ball of clay, insert your thumb, and use your other fingers as support, you may ‘pinch’ out a wide variety of hollow forms.
Humans have been making pots like this for thousands of years. I’ve been doing this for ages too.
Rock Pot (Kurinuki)
I’ve only started using black clay very recently and think it suits these ‘rock inspired’ vessels very well.
The Precambrian geology near to my home in North Wales is very ancient and awe-inspiring.
I’m a late convert to porcelain but have begun to really love its qualities. I showed a selection of these pots for an Exhibition at the Contemporary Ceramics Centre, London, in 2017.
Below are more images of work I’ve recently made. Some pieces may be for sale and I will link to SHOP soon.
Porcelain (25cm by 13cm)
I like the combination of glazes used in this fluid form. It began its life as a sheet of clay rolled out to be both strong enough to support the form when being made, yet thin enough to allow the clay to drape and fall like fabric, without collapsing.
Porcelain (24cm by 11cm)
There’s an interesting link between cowrie shells, and porcelain, which I’ve written about on another page. The fine lines on the surface, and the way the body of the shell curves round, was the starting point for a series works like the one illustrated here..
Porcelain (29cm by 16cm)
It’s surprising sometimes how much ‘integrity’ there can be in some porcelain clay. I used to be frightened of the delicate material, being much more used to the robustness of stoneware, but it can be quite tough, if handled with care.
Stoneware (38cm by 7cm)
I’ve only made a few of these tall sinewy forms. The kiln I use these days is quite small, and every time I begin to make these they grow taller and taller. (They don’t actually ‘grow’ but look as if they could!).
Stoneware (36cm by 18cm)
This piece was made several years ago, but I like to think I’ll make some more some day, or at least work that relates to it. I used the same slip-decorating technique as in the large urns below.
Stoneware (41cm by 13cm)
This was also made a while back but I used dry glazes instead of slip on the surface. Scrafitto lines were carefully scratched through the unfired glaze and filled with a shiny one, for contrast.
In 1992 I was awarded the Craft Masterpiece Gold Medal, at the National Eisteddfod of Wales, for a piece similar to this large urn/vessel.
It was coil built and I used various surface techniques in it’s production. I began to explore different glaze and slip applications on the rounded forms, and showed them mainly through the Hannah Peschar Sculpture Park in Ockley, Surrey, UK
Some of the pieces I made are shown below.
Burnished Ware …