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Fired Ceramic Grid, and metal ruler. The piece evolved over a few months whilst situated in a field. It has several titles, and is part of a Triptych. Size 3ft square, plus yardstick.

‘Rock Art (by my own yardstick)’.

Weaving with Nine Flowers

Nine Flowers Weaving

42 cm x 42 cm

In 1671 an argument broke out in the French Royal Academy of Painting and Sculpture in Paris about whether drawing or color was more important in painting. On one side stood the Poussinists who were a group of French artists, named after the painter Nicolas Poussin, who believed that drawing was the most important thing. On the other side were the Rubenists, named after Peter Paul Rubens, who prioritized color.

‘Meaning, Drawing or Colour?’

 

This is a small selection of my interest-based practice, shown in no particular order.

Please Contact Me if you would like to know more.

Linda John

Diptych, two panels each 100cm square. Materials are Fired Clay and Gold Leaf, Colophony Resin, Beeswax, and Red Ochre.

 

‘Signature Pieces

(Part 0 and Part 1)’

‘The Rump Ostraca’

Common Clay (Fired),

Kapok,

Gold Leaf,

2mm Ceiba Plywood,

Seeds (Ceiba pentandra).

Wall Piece titled 'Family Court'. Made with Astrakhan Fur.

‘Family Court’ 62 x 62 cm

Burnished and Smoke Fired Pinch Pot by Linda John

Burnished Pinch Pot

'Palm Tree' - Screenprint, 'formerly' in Permanent Collection, Aberdeen City Art Gallery.

‘Palm Tree’ Screenprint

Very small pinch pot made with three different clays

Tiny Pinch Pot

Slip-decorated Earthenware Mosaic Panel 78cm x 65 cm

Earthenware Panel

Linda John Garden Urn in Yellows and blue

Garden Urn

Pinch Pot by Linda John

Pinch Pot

Woven wall-piece using a hundred per cent fibres from homegrown Day Lily (Hemerocallis).

‘Day Lily’ Wall Piece

Tower of Pinched Starter Plates, with various glazes.

Starter Plates – Various

Mosaic Earthenware Panel

‘Mountain View’ 

Pinch Pot with Dry Glazes

Pinch Pot

Porcelain Vase

Porcelain Vase

Tall stoneware vase by Linda John

Stoneware Vase

Triptych (unfinished)

‘Evening Chorus (unfinished’

Triptych

WORDS

"The Order of Things' - Michel Foucault

What We Say

 

Writing can draw with a line that dips back and forth through meaning, in a single sentence.  Art usually presents us with a thing and a title, inviting us to dart back and forth, between words and image, to excavate meaning.

We ‘read out’ what the maker of the work is trying to tell us.

Unlike when we encounter a sentence however, our prehistorical imperative is to evaluate shapes, signs and visual messages, and to do so quickly so that we may react appropriately.  Searching for (and creating) plausible narratives is our thing, whether the originators intention is clear, forgotten, or has changed over time.

Art can throw up images or experiences that oblige us to take a very direct route to what we have nearly forgotten and/or have purposely submerged, whether we are willing participants in the exchange or not.

Despite the words attached to it in the form of label, every piece of Art is a found object (even when it’s not an object) and what we ‘find’, or bring, can change from moment to moment.

 

 

Linda John