Linck Keramik
While growing up in 1930s Heimberg, Switzerland, Margrit Linck learned the craft of ceramics and developed a vision for unfussy pieces that could bridge both past and present. Later, stints in Berlin and Paris saw her rub shoulders with the doyens of the young, European art set, like Picasso, Giacometti and Braque, and helped her refine her aesthetic. An obsession with form as the pinnacle of purity led Margrit to eventually create only in white – no colour to distract from the clay’s sharp lines and curvatures. Margrit’s daughter-in-law continued her work after her death, and today, Linck Keramik is in its third generation under Annet Berger – the studio still in the original Bern location and accessories like vases and tableware still formed using a traditional wheel.
While growing up in 1930s Heimberg, Switzerland, Margrit Linck learned the craft of ceramics and developed a vision for unfussy pieces that could bridge both past and present. Later, stints in Berlin and Paris saw her rub shoulders with the doyens of the young, European art set, like Picasso, Giacometti and Braque, and helped her refine her aesthetic. An obsession with form as the pinnacle of purity led Margrit to eventually create only in white – no colour to distract from the clay’s sharp lines and curvatures. Margrit’s daughter-in-law continued her work after her death, and today, Linck Keramik is in its third generation under Annet Berger – the studio still in the original Bern location and accessories like vases and tableware still formed using a traditional wheel.