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Fish Tiles | Tiles by Lynne Meade. Item composed of marble
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Fish Tiles | Tiles by Lynne Meade. Item composed of marble
Fish Tiles | Tiles by Lynne Meade. Item composed of marble
Fish Tiles | Tiles by Lynne Meade. Item composed of marble
Fish Tiles | Tiles by Lynne Meade. Item composed of marble
Fish Tiles | Tiles by Lynne Meade. Item composed of marble

Created and Sold by Lynne Meade

Lynne Meade

Fish Tiles

Bestseller

Price from $10 to $70

Creation: 3-6 weeks
Shipping: FedEx 3-5 days
Estimated Arrival: June 11, 2024

DimensionsWeight
0.45 kg
1 lb

Art Deco, Art Nouveau, and Contemporary styled hand cut and carved porcelain tile with clear and translucent glazes. The carving is done with dental tools when the pieces are bone dry. Comes with rubber feet and a hanger on the back.

Makes a wonderful wall hanging, can be used as a trivet or can be installed in a kitchen or bathroom. These tiles also work well when combined with commercial tiles.

• Material: Porcelain
• Shape: Rectangle
• Pattern: Fish
• Designed and handcrafted in Oakland, CA.


DETAILS
Carved tiles are made-to-order.
Certain styles and colors of individual tiles are on Quick Ship.
Custom sizes and colors are available.
Commissions for different shapes and patterns are welcome.
Lead time is 3 to 6 weeks. Custom orders can take up to 8 to 12 weeks.

Item Fish Tiles
Created by Lynne Meade
As seen in Creator's Studio, CO, CO
Have more questions about this item?
Lynne Meade
Meet the Creator

Lynne Meade

Oakland, CA

Wescover creator since 2020
Wheel thrown, hand pierced pottery

All of my pieces are wheel thrown and hand pierced. Everything is done by eye, without molds or templates. I initially pierce the piece about two hours after I throw it. I pierce it while it is still fairly wet so that it won’t crack. But the holes are much smaller at this point, so that the piece won’t collapse. I then go back when the piece is completely dry and the clay is rigid, and painstakingly enlarge each hole with a damp sponge. The water in the sponge erodes away the bone dry clay, allowing me to take away as much clay as possible
I love to push the medium as far as I can, seeing how little clay I can leave while still maintaining the structural integrity of the piece. People often ask me why they don’t collapse and I tell them that they often do. Most of the time the problems happen during the hottest part of the firing process. The clay becomes slightly molten and the more lacy pieces can slump or collapse. It is a careful balance between achieving the delicate appearance that I want and not creating a kiln disaster.
I also strive to blur the boundaries between form and function, and function and art. I was trained as a traditional, functional potter. I will probably always want to create tableware and functional pieces, but also can’t seem to resist rebelling against function, and the constraints and limitations of functional ware, just to see how far I can take the clay. It’s all about strength in the form of delicacy