Ceramics between form and eternity
Linck Ceramics produces ceramics for everyday use with perfected craftsmanship and aesthetic timelessness. In the 1930s, Margrit Linck began to combine her skill in making ceramics with her artistic aspirations. Today, her love for perfect forms is being carried on into the future with dedication and craftsmanship in a studio near Bern.
Margrit Linck learned the ceramic craft as a young woman in Heimberg. She knew early on that she would have to give new impulses to the ceramics tradition in order to be able to respond to the challenges of modernity. She and her husband Walter Linck moved to Berlin and visited Paris time and again. They were part of the young art world with its dazzling figures such as Picasso, Giacometti and Braque. Back in Switzerland, Margrit Linck recognised her vocation. She used the artisanal pottery tradition for her artistic expression. In addition to independent surreal art objects, she began to develop a new formal language for ceramics.
Between 1940 and 1980, Margrit Linck designed several hundred ceramic objects - over time increasingly and finally entirely in white. She herself finds a simple explanation for her bold step at the time:
“I adore the white colour. Since the form is the most important aspect for me, it seems to me that if the form is perfect, I can only use white as the colour."
The development of her biography is visible as a timeline in her objects. While the models of the 60s were still minimalist and determined by geometric unambiguity, the vases of the 70s reveal a strong vivacity and show Margrit Linck's love for African sculptures.
Regula Linck, Margrit Linck's daughter-in-law, carried on her legacy after her death in 1983 with great love for her powerful work and with great conviction, and anchored it in the world of art and culture in Bern. Since 2011, Linck Ceramics has continued in its third generation with Annet Berger as the owner. Today, Margrit Linck's designs are still produced in the studio near Bern in traditional craftsmanship on the wheel.
During two firing processes, the clay hardens and the glaze flows out. Classic craftsmanship gives each piece its individuality and unique character in the manufacturing process, which would be lost in industrial production. The range is large. Margrit Linck's legacy includes more than 200 vases and bowls. Preserving the heritage and carrying it into the future is the fascinating task of the present.
Linck Ceramics is the result of an idea developed over decades and of an artistic conviction. Alberto Giacometti, Swiss artist and friend of Margrit Linck, interpreted the value of a sculpture in terms of a creative force:
“The sculpture rests in the void. One hollows out the space to construct the object, and the object in turn creates a space.”
Linck Ceramics creates such a space. A space for the perception of the world within the examination of one's own personality. It creates stability and thus a moment for connectivity.