Linda Arbuckle’s work in majolica-glazed earthenware has been recognized internationally and has earned her a fellowship from the National Endowment for the Arts. Arbuckle is known for the luscious majolica surfaces on functional ceramic wares. Using color and floral motifs, she carries on the ancient tradition of painting on clay, bringing brightness and life to terra-cotta.
Linda Arbuckle at MudFire
Gallery group show Amreican Masters, June 2010
Linda Arbuckle Bio
Linda's work in majolica-glazed earthenware has been recognized through anArtists' Fellowship from the National Endowment for the Arts, as well as aFlorida Individual Artists' Fellowship. Artist-in-residence positions in Walesand the People's Republic of China have provided further balance of Easternand Western resources in her works.
Lectures and workshops presented include summer faculty sessions at PenlandSchool, Arrowmont School, Haystack Mountain School, Appalachian Center, SantaFe Clay, The Odyssey Center, and the Archie Bray Foundation, as well as visitingartist workshops at many art centers and universities across the U.S.
Her work appears in the collections of The World Ceramics Exposition KoreaInternational Collection, Inchon, Korea; Archie Bray Foundation, Helena, MT;Museum of Decorative Arts, Arkansas Art Center, Little Rock, AR; ArrowmontSchool of Arts & Crafts, Gatlinburg, TN; Racine Art Museum, Racine, WI. DetroitInstitute Of Art, Detroit, MI; Fredrick R. Weisman Art Museum, Universityof Minnesota, Minneapolis, MN; Margaret Harlow Collection, Bemidji University,Bemidji, MN; Lamar Dodd Art Center, LaGrange College, LaGrange, GA; NationsBankCorporate Headquarters, Charlotte, NC, and Stetson University, Deland, FL.
Publications include a feature chapter in The Penland Book of Ceramics: MasterClasses in Ceramic Techniques, and Creative Pottery: A Step By Step Guideand Showcase.
Linda Arbuckle Artist Statement
The functional vessel as an art object provides personal experiences through use in one's daily life. Line, color, gesture, and the lure of materiality articulate the value of indulgence and the transience of (plant) life. The alchemy that transforms common terracotta clay into an object that speaks in a domestic setting points the way toward parallel transformations possible in the observed moments of personal life.