Artist in conversation: Peter Linnett
“ I shamelessly exploit myths and legends. Not for some depth of meaning or symbolism, so much as their offering release from a concrete reality.”
Peter Linnett is an artist whose sculptural work is deeply influenced by the narrative resonances found in antiques and historical artefacts. His creative process honours the raw and imperfect nature of materials, using them to tell a visual story steeped in history. Rather than shying away from the inevitable ageing and decay that comes with time, Linnett embraces these elements as essential facets of his work. The resulting sculptures are not just objects, but living entities that age, change, and carry their own unique histories. Through this approach, Linnett celebrates the making process as an integral part of the narrative, creating a compelling dialogue between the past and the present.
His work transcends the traditional boundaries of sculpture, manifesting instead as functional art-furniture. This unique approach gives his artwork a dual purpose, serving both aesthetic and practical functions. His creations come in various forms, from one-off pieces to limited editions and evolving series, each embodying a distinct character from myth or legend.
What initially inspired you to become an artist, and how did you develop your unique style?
I don’t have a formal art education, having been brought up very much in the sciences. I took more of an interest in music than in visual arts at school - though that always as a sideline or hobby. I studied Engineering at university, and started exploring visual arts as an escape from the intensity of study. The contemporary art world instilled skepticism (it seemed so full of pretentious bullshit) so I steered more into “high design”. However, ultimately, out of fate and financial necessity, I found myself working in antique restoration. This unplanned career move has injected a strong sense of historical perspective into my work as an artist, and is unquestionably one of the strongest influences on my style.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
I shamelessly exploit myths and legends. Not for some depth of meaning or symbolism, so much as their offering release from a concrete reality. Stories passed down generations through verbal tradition, and adapted to explain historical events are inherently flexible and vague on detail, which gives just enough framework to create work without imposing restrictive conditions.
How do you navigate the balance between self-destruction and re-creation as a way towards conscious Happiness?
I don’t aim for goals in my creative work (or, at least, when I do, I inevitably fail). Rather, I edit and re-consider the path as work progresses. A bit like setting out on a long walk without having a set destination.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
Every piece is a challenge on some level, and many of my works take years to emerge. I try not to force the release of a new work by setting deadlines; and when I hit an impasse, I let the work rest unfinished - perhaps indefinitely, but at least until new inspiration arrives.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
I am absolutely not interested in trends.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I used to get upset by rejection, but bowing to criticism has usually weakened my work and pushed me toward a conformity which I find uncomfortable. So I listen politely…
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I think this is just what artists do. You create because you have to - whatever setbacks fall into your path.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
There is a tendency to elitism and exclusivity in parts of the art world which keeps certain audiences out of galleries and museums. The Holy Art Gallery sits outside this exclusive circuit, and makes art more approachable to that audience.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I have made many plans in my art career, and none has materialised in its envisaged form. I’ll try to remain adaptable to how and where my career might develop, and stay open-minded about opportunities which arise. Every step, to some degree, is a step into the unknown. Who knows where it will take me!
