Ethos

Life classes taught Linda about the human form, but only so that she could then interpret it in a free and semi-abstract way. Whilst Linda likes to suggest anatomical correctness, she is more interested in evoking feeling and mood. There is a certain 'super realism' about her work, in which proportions are often exagerated, bodies and limbs more curvaceous than sinuous, with outlines more rounded than angular. She likes the finished piece to be smooth and sensuous and to invite touch.

By first sculpting with wooden tools and then using metal tools for the finish, and by carving into the clay, rather than adding to it, Linda's finished work often resembles stone. In this respect, Henry Moore has obviously been an influence but, also the Spanish artist, Rosa Serra, and the early work of Jon Buck. A range of emotions spring from Linda's sculpture: humour in the gossipy groups of well-rounded women and the leap-frogging man; poignancy and stillness in the solitary figures staring into the void; compassion in the caring couples and tender groupings of mothers and children; a certain boldness in the large ladies unthreatened by their bulges and voluptous curves.

Stories are told by figures being bold over in the waves, or clinging to wind-swept trees. Each observer will find their own interpretation - that is the joy of Linda's work.