Adam Kruszyński
Adam Kruszyński, Poland, Touch, 2005
blown glass, cold-worked, Dimensions: 13/13,5/30
blown glass, cold-worked, Dimensions: 13/13,5/30
Adam Norman Jenkins
Adam Norman Jenkins, Australia, The Fall Of Eve, 2019
Kiln casting glass, 50/25/20
Kiln casting glass, 50/25/20
Adam Norman Jenkins
Adam Norman Jenkins
Australia, Portrait of Stefani Joanne Angelina Germanotta, 2024, Kiln cast, 25cm/22cm/16cm
Australia, Portrait of Stefani Joanne Angelina Germanotta, 2024, Kiln cast, 25cm/22cm/16cm
Ake Rawdmek
Ake Rawdmek, Thailand, The uncertainty 2, 2019, Blown Glass, Dimensions 36/30/30
Albena Dimitrova
Albena Dimitrova
Juha’s dream, 2015
Сънят на Юха
Fused glass, slumping
Dimensions: 32/32
Juha’s dream, 2015
Сънят на Юха
Fused glass, slumping
Dimensions: 32/32
Albena Dimitrova
Bulgaria, Meditation, 2020, Fused, 60/0.5/40
Alejandra Toribio
Alejandra Toribio, Argentina
no title, 2013
Fused glass, slumping, float glass, sand blasted glass
Dimensions: 18/14/7
no title, 2013
Fused glass, slumping, float glass, sand blasted glass
Dimensions: 18/14/7
Aleksandar M. Lukić
Aleksandar M. Lukić, Serbia, Holy River Drina 02, 2022, Fused glass, Dimensions 64/21/9
Alexandra Moshenek Bolaños
Alexandra Moshenek Bolaños
Ecuador, Overthinker, 2024, Mold blown glass, Multimedia projection, water serum, ceramics, 13/43/34/43
Ecuador, Overthinker, 2024, Mold blown glass, Multimedia projection, water serum, ceramics, 13/43/34/43
Alina-Madalina Panturu
Alina-Madalina Panturu, Romania, Wrinkled Shirts, 2021, Fused Glass, Dimensions: 60/2/70
Alli Hoag
Alli Hoag
United States, Dreamscapes from the Underground II, 2023, Blown glass, Kiln formed, Stained glass, Engraved, copper, mixed media, 35/66/18
United States, Dreamscapes from the Underground II, 2023, Blown glass, Kiln formed, Stained glass, Engraved, copper, mixed media, 35/66/18
Ana Laura Quintana
Ana Laura Quintana, Argentina
Nature Cups, 2019
pate de verre
Dimensions: 11,5/40/19
Nature Cups, 2019
pate de verre
Dimensions: 11,5/40/19
Ana Maria Caldaruse
Ana Maria Caldaruse
Romania, Pollen, 2024, Painted, Engraved glass, wood, plants, 10/15/2
Romania, Pollen, 2024, Painted, Engraved glass, wood, plants, 10/15/2
Ana Quiroz
Ana Quiroz, Mexico, New Relic, 2020, Assembled glass, Dimensions 28/27/13
Ana Viñuela
Ana Viñuela, Spain, Of land to sea, 2020, Pâte De Verre, 2 x 30/30/1
‘Of land to sea aims to represent the beauty of two antagonistic but at the same time complementary elements, such as the sea and the land. He is represented in this sculpture, which shows how the experience of both changes, by the colors that vary according to the perspective and by external conditions such as light, which constantly affect them.’
‘Of land to sea aims to represent the beauty of two antagonistic but at the same time complementary elements, such as the sea and the land. He is represented in this sculpture, which shows how the experience of both changes, by the colors that vary according to the perspective and by external conditions such as light, which constantly affect them.’
Anastasiya Tonkova
Anastasiya Tonkova, Bulgaria, Scar I & II, 2017, Fused, Mixed technique, 35/30/2
Andra Jõgis
Andra Jõgis, Estonia
Letters from home, 2016
Print on glass, cold-worked, layered glass
Dimensions: 17,6/25/1,5
Letters from home, 2016
Print on glass, cold-worked, layered glass
Dimensions: 17,6/25/1,5
Andra Jõgis
Andra Jõgis, Estonia
Dendro, 2019
blown glass
Dimensions: 50/50/120
Dendro, 2019
blown glass
Dimensions: 50/50/120
Andrea da Ponte
Andrea da Ponte, Argentina
Globalized, 2015
Blown glass, image transfer
Dimensions: 36/36/36
Globalized, 2015
Blown glass, image transfer
Dimensions: 36/36/36
Andrea da Ponte
Andrea da Ponte, Argentina, Globalized 2.8, 2018, Blown Glass, ø27cm
ARTIST INFO: Born in Avellaneda, where I still live and work.
I am passionate about teaching and I share my knowledge with my students from Argentina and from around the world creating new spaces of communication and experimentation of the recently developed methods.
ARTIST INFO: Born in Avellaneda, where I still live and work.
I am passionate about teaching and I share my knowledge with my students from Argentina and from around the world creating new spaces of communication and experimentation of the recently developed methods.
I use the physical characteristics of glass to talk about a timeless world of constant movement and relate it to an iron containment. Two opposite materials on both transparency and fragility. I think the narrative of my pieces expresses different kinds of lectures, it leaves a part open for interpretation of the viewer.
Andrea da Ponte
Andrea da Ponte, Argentina
Swallowing words, 2018
kiln casting glass
Dimensions: 24/8
Swallowing words, 2018
kiln casting glass
Dimensions: 24/8
Anita Darabos
Anita Darabos, Hungary, Fragment, 2020, Cold Worked, Fused, Layered, Mixed Technique, Sandblasted, 24/74/11
Anjali Venkat
Anjali Venkat, Singapore, Tide Pool, 2021, Assembled, Cold Worked, Enameled, Fused, Lamp Worked, Layered, Painted, Slumped, Dimensions: 10/45/45
Anjali Venkat
Anjali Venkat, Singapore
Altereal- Emerge, 2018
pate de verre, fused glass, slumping, float glass, mixed technique, layered glass, other
Dimensions: 14/4
Altereal- Emerge, 2018
pate de verre, fused glass, slumping, float glass, mixed technique, layered glass, other
Dimensions: 14/4
Ann Ruth Facktorovich
Ann Ruth Facktorovich
Israel, “Lost connection”, “Attempts to restore connection” series, 2024, Blown glass, Readymade, 20/20/90/20
Israel, “Lost connection”, “Attempts to restore connection” series, 2024, Blown glass, Readymade, 20/20/90/20
Anton Vrlić
Anton Vrlić, Croatia
Comet, 2016
Komet
Cut, polished and laminated optic glass
Dimensions: 15/13/8
Comet, 2016
Komet
Cut, polished and laminated optic glass
Dimensions: 15/13/8
Aoife Soden
Aoife Soden, Ireland
A Test of Buoyancy, 2018
blown glass, mixed technique, other
Dimensions: 19/19/15
A Test of Buoyancy, 2018
blown glass, mixed technique, other
Dimensions: 19/19/15
Armando Granja
Armando Granja, Panama, At sunrise, 2021, Kiln cast, 13/13/36
Armel Desrues
Armel Desrues
France, Obsidian, 2016, Glass blowing and glass cutting, 58/13/13 cm
France, Obsidian, 2016, Glass blowing and glass cutting, 58/13/13 cm
Arthur – heArthur – van Buuren
Arthur – heArthur – van Buuren, Netherlands, You are up in the air, 2022, Fused glass, 24/15/13.5
ARTWORK DESCRIPTION: ‘This formidable sculpture is made in a mix of red, pinks and blue. The
light circle seems to fly! It is only fused to the dark inky blue
quarters of circle.’
Arūnas Aleksandras Daugėla
Arūnas Aleksandras Daugėla, Lithuania, Ocullists, 2018, Blown Glass, Cold Worked, Hot Sculpted, Dimensions: 40/10/15
Audronė Andrulevičienė
Audronė Andrulevičienė
Lithuania, Reflections on Life’s Transience, 2024, kiln cast, lost wax casting, cold worked, 9/20/6
Lithuania, Reflections on Life’s Transience, 2024, kiln cast, lost wax casting, cold worked, 9/20/6
Balazs Telegdi
Balazs Telegdi
Hungary, Protected IV., 2023, Blown glass, Author’s technique, 30/18/18/18
Hungary, Protected IV., 2023, Blown glass, Author’s technique, 30/18/18/18
Barbara Proverbio
Barbara Proverbio
Italy, Allamanda, 2022, Blown glass, 33/22
Italy, Allamanda, 2022, Blown glass, 33/22
Bernadette Neven
Bernadette Neven, Belgium, Dead Nature, 2021, Pâte de verre, Kiln casting, Screen printing, Dimensions 50/50/50
Birgit Köblitz
Birgit Köblitz, Hungary, Princess, 2021, Kiln formed, bended, 37/35/11cm, ARTWORK DESCRIPION: The object is based on the fairy tale of the frog prince, only here the roles have been reversed: The princess is waiting for the kiss. It makes us wonder who we really are, and whether captive or sheltered. Under the arches protected, above the arches floating. In front of the gates, waiting …on waving ground … on winding roads … – the world is colorful and sometimes the gray shades are fetching. This is a well-known, recurring story that still hides so many interesting discoveries.
ARTIST INFO: Glass defines my everyday life, influences the way I see things and urges me to change, and I am interested in these special moments and changes. I would like to grab them as they rhytmically meander into each other and to share these experiences with others so they can feel them too.
I am interested mainly in the transparency of glass, as its unstoppable strength is woken up by the colours that run through it. I like the dialogue with the material as its condition, its surface and transparency changes when it warms up and then it returns, freezes into a picture full of the experiences of all the changes it went through. For this I find decorative elements, drawings and figures and then place them into exciting compositions.
In my latest creations I playfully combine different techniques with which I reach new forms of expressions, although the arch motif is an always returning metaphor.
Under the arches protected, above the arches floating. In front of the gates, waiting …on waving ground … on winding roads … – the world is colorful and sometimes the gray shades are fetching. This is a well-known, recurring story that still hides so many interesting discoveries.
Creating glass sculptures and architectural glass are both close to my heart The usage of coloured glass in architecture is a very responsible task because it influences our soul directly. The given space and its air are always inspiring, they are my source of creativity. It is an important aim for my glassworks that are made for communal places, to remain modern. It has to reflect the personality of the glass artist not only technically but in its form as well because it is the only way for it to become an integral part of the architecture withstanding the passage of time.
Carlos Sánchez
Carlos Sánchez, Mexico, Ethereal souls, 2022, Kiln formed, 45/30/10
Carol Neumann
Carol Neumann
Mexico, GENESIS, 2024, Kiln cast, Lost wax casting,Tiffany, copper, 45/50/34
Mexico, GENESIS, 2024, Kiln cast, Lost wax casting,Tiffany, copper, 45/50/34
Carolin Zibulka
Carolin Zibulka
Germany, Azure, 2024, Layered, Mixed technique, Pigments, Acrylic, 50/40/0.4
Germany, Azure, 2024, Layered, Mixed technique, Pigments, Acrylic, 50/40/0.4
Caterina Zucchi
Caterina Zucchi, Italy
Light and Shadow,
Blown glass, sand blasted glass, mixed technique, 30/30/6cm
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
Light and Shadow,
Blown glass, sand blasted glass, mixed technique, 30/30/6cm
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
What I’ve found in glass and the glass blowing technique is the ideal and proper means to push this personal research forward.
My artistic path concerns the attempt to let Murano glass jewels which are tied to the thousand-year-old history of decoration since forever, to have a new contemporaneity.
My interest in glass art started in 2000 and had consistently brought me on as a student at the Vetroricerca Glas & Modern Institute of Bolzano and the Abate Zanetti School of Glass of Murano where I spent one year as assistant graffer in a master glassworker atelier, until 2004, when I opened my studio in Leghorn. In May 2015, the Tuscan Region conferred me the title of Master Artisan.
Studiozero vetro is the laboratory where I design and create Murano glass jewels, either blown or not, which are entirely handmade.
Among the numerous glass-working techniques, I’ve chosen the blowpipe technique because it’s based upon instant actions, and it requires precision and ability of gestures that make the glass even more versatile. This method allows improvisation to have much larger edges so I can better express my creativity.
Creativity is an urgency, a spontaneous gesture, a moment, a mood. I’m not in search of the perfect glass bead, but of an object that is in harmony with the environment surrounding it, coherent and close to my creative impulse.
Caterina Zucchi
Caterina Zucchi, Italy, „Monster“ necklace, 2022, Engraved, Lamp worked/Flame worked, Mixed technique, 60/30/10cm,
ARTWORK DESCRIPTION: I wanted to do something unpleasant.
Intrusive, overbearing and annoying. Aggressive and somewhat arrogant.
I didn’t want to achieve harmony and balance. I thought of starting from a reverse thought to create something monstrous, a frightening opprobrium. Perhaps, I should have tried harder to achieve a worse result than this.
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
What I’ve found in glass and the glass blowing technique is the ideal and proper means to push this personal research forward.
My artistic path concerns the attempt to let Murano glass jewels which are tied to the thousand-year-old history of decoration since forever, to have a new contemporaneity.
My interest in glass art started in 2000 and had consistently brought me on as a student at the Vetroricerca Glas & Modern Institute of Bolzano and the Abate Zanetti School of Glass of Murano where I spent one year as assistant graffer in a master glassworker atelier, until 2004, when I opened my studio in Leghorn. In May 2015, the Tuscan Region conferred me the title of Master Artisan.
Studiozero vetro is the laboratory where I design and create Murano glass jewels, either blown or not, which are entirely handmade.
Among the numerous glass-working techniques, I’ve chosen the blowpipe technique because it’s based upon instant actions, and it requires precision and ability of gestures that make the glass even more versatile. This method allows improvisation to have much larger edges so I can better express my creativity.
Creativity is an urgency, a spontaneous gesture, a moment, a mood. I’m not in search of the perfect glass bead, but of an object that is in harmony with the environment surrounding it, coherent and close to my creative impulse.
Cathryn Shilling
Cathryn Shilling, United Kingdom, Consonance Diptych, 2019, Kiln Formed Glass, Fused, Slumped, Dimensions: 45/85/18
Cedric Ginart & Karina Guévin
Cedric Ginart & Karina Guévin, Canada, The goose and the golden egg, 2021, Lamp worked/Flame worked, 44/16/16
ARTWORK DESCRIPTION: ‘This work is sometimes inspired by the wonderful world of classical literature and folk tales, our adventures around the world or by an old alchemy book that makes us dream. This work evolves and changes with the experiences and challenges we face along the way.’
Chad Holliday
Chad Holliday, United States, Buttress Sprocket, 2015, Mold melted, cut and polished, color shifting light reactive glass, 38/36/8cm, ARTWORK DESCRIPTION: “Buttress Sprocket” is a new exciting direction for my work. I have been very interested in incorporation the circular with the buttress. Here they offer a supporting opposition to the sprocket or gear side. All of these elements show the energy that cast glass can embody.
ARTIST’S STATEMENT: ESSENCE FROM THE PRIMORDIAL
The foundation of my work lies within the understanding of primordial forms and their purpose throughout history. These are forms that are repeated throughout history by different, and separate cultures for a similar purpose. Using this as the initial basis for my research, I have then linked this to the aesthetics found in Czech glass, starting with Professor Stanislav Libensky and Jaroslava Brychtova, and the ideas that are found in Cubism and Constructivism. I utilize the scientific method when approaching my research. I believe that artists and scientists are inherently linked. This foundation allows me to draw from a multitude of resources in art history, psychology, and physics while considering my primary philosophy. As my work has developed, I’ve utilized a repeating dialogue incorporating space and time, using visual elements that are inherent in solid cast glass. The primary, defining element of sculpture is time. Time is seen as the “fourth dimension.” Time is a very significant asset for this discussion as it is for many contemporary sculptors.
The interior space in my work is its final defining element. I term this as the “fifth dimension.” In this aspect light becomes a linking factor between these two dimensions. By thinking of light as an element of construction, the light allows me to conduct the viewer, as well as the space within the object and eventually the space around the object. Light is essentially the defining and primary factor in cast glass and what links the latter.
By bringing these elements together with the intuition gained with experience, I have found ways of creating new space by multiplying the visual space. This is the most significant attribute unique to glass. This is achieved by an extensive knowledge of the casting process and refining or cold working, of the material as well. Just as my philosophical foundation relates to the Czech Aesthetic, so is my expertise in the refining or “cold working” of the material.
All of these elements together become extremely significant in my research. They do not operate independently. Rather they work cooperatively and cannot exist without the other. As a sculptor working in glass, it is my charge to understand and harness these properties to enable the work to be conceived. With this in mind, consider the idea of “Imagineering.” Due to the nature of the material I must have an awareness and intuition that allows for the manipulation of light, which in turn constitutes a multiplication of space.
ARTIST’S STATEMENT: ESSENCE FROM THE PRIMORDIAL
The foundation of my work lies within the understanding of primordial forms and their purpose throughout history. These are forms that are repeated throughout history by different, and separate cultures for a similar purpose. Using this as the initial basis for my research, I have then linked this to the aesthetics found in Czech glass, starting with Professor Stanislav Libensky and Jaroslava Brychtova, and the ideas that are found in Cubism and Constructivism. I utilize the scientific method when approaching my research. I believe that artists and scientists are inherently linked. This foundation allows me to draw from a multitude of resources in art history, psychology, and physics while considering my primary philosophy. As my work has developed, I’ve utilized a repeating dialogue incorporating space and time, using visual elements that are inherent in solid cast glass. The primary, defining element of sculpture is time. Time is seen as the “fourth dimension.” Time is a very significant asset for this discussion as it is for many contemporary sculptors.
The interior space in my work is its final defining element. I term this as the “fifth dimension.” In this aspect light becomes a linking factor between these two dimensions. By thinking of light as an element of construction, the light allows me to conduct the viewer, as well as the space within the object and eventually the space around the object. Light is essentially the defining and primary factor in cast glass and what links the latter.
By bringing these elements together with the intuition gained with experience, I have found ways of creating new space by multiplying the visual space. This is the most significant attribute unique to glass. This is achieved by an extensive knowledge of the casting process and refining or cold working, of the material as well. Just as my philosophical foundation relates to the Czech Aesthetic, so is my expertise in the refining or “cold working” of the material.
All of these elements together become extremely significant in my research. They do not operate independently. Rather they work cooperatively and cannot exist without the other. As a sculptor working in glass, it is my charge to understand and harness these properties to enable the work to be conceived. With this in mind, consider the idea of “Imagineering.” Due to the nature of the material I must have an awareness and intuition that allows for the manipulation of light, which in turn constitutes a multiplication of space.
Cheryl Edwards
Cheryl Edwards, Australia, Ash, Sinuous Series, 2022, Kiln formed, Fused, Hot worked, Sandblasted, 15/17.5/36cm,
ARWORK DESCRIPTION: Cheryl is interested in the infinite
possibilities of structure, pattern and color. Places play a big part in her inspiration and she sees pattern everywhere, both natural or human made. Building various patterned layers and constructing forms
within the boundaries of chance and intent she finds glass to be the perfect medium to explore this.
The majority of Cheryl’s work is made with Murrini a technique made in the hot shop. The Murrini glass is the first part of a multi step process to create her vessels. Sheet glass is sandwiched together and
heated then stretched, the process is repeated to miniaturize the pattern. Then the glass is cut into small tiles and fused together in a kiln. She then uses those pieces to form her art.
ARWORK DESCRIPTION: Cheryl is interested in the infinite
possibilities of structure, pattern and color. Places play a big part in her inspiration and she sees pattern everywhere, both natural or human made. Building various patterned layers and constructing forms
within the boundaries of chance and intent she finds glass to be the perfect medium to explore this.
The majority of Cheryl’s work is made with Murrini a technique made in the hot shop. The Murrini glass is the first part of a multi step process to create her vessels. Sheet glass is sandwiched together and
heated then stretched, the process is repeated to miniaturize the pattern. Then the glass is cut into small tiles and fused together in a kiln. She then uses those pieces to form her art.
Cheryl Wilson Smith
Cheryl Wilson Smith
Canada, Cherished: Memories, 2024, Kiln cast, Kiln formed, Pâte de verre, Screen printing, 20/20/23/20
Canada, Cherished: Memories, 2024, Kiln cast, Kiln formed, Pâte de verre, Screen printing, 20/20/23/20
Chiara Bettoncelli
Chiara Bettoncelli, Italy, Water, 2015, Acid etching, Cold worked, 45/6/1
ARTWORK DESCRIPTION: ‘Acqua is a contemporary jewel handmade in Murano glass and organza; a versatile ornamental element, a belt-necklace for women with a minimal aesthetic, which goes particularly well with dresses with silk and crepe satin details. (…) To evoke the watery element, the material has been kept in its original texture in a hand-pulled slab: each piece is, in its simplicity, unique, as one differs from the other precisely due to the particular veins of the
surface.’
Christine Vanoppen
Christine Vanoppen, Belgium, Out of Line, 2022, Flame Worked, 50/45/18
ARTWORK DESCRIPTION: ‘I create works that speaks of both the complexity of life and the woven and coiled aspects of the cocoon. Very graphic sets are reminiscent of drawing in space. Through a play of shadows, light and transparency, I invite the viewer to contemplate the fragility of life, the strangeness of dreams between illusion and reality.’
Clara Rivault
Clara Rivault
France, XVOTO 2, 2025, fused glass, wool, 60/60/12
France, XVOTO 2, 2025, fused glass, wool, 60/60/12
Claudia Henao
Claudia Henao, United States, Sacred Letter, 2020, Pâte De Verre, 14/6/5
Claudia Virginia Vitari
Claudia Virginia Vitari, Italy, Interstitial Identities, Umaru, 2022, Silkscreen on glass, layered, fused, rolled-up and coldworked, D 15-16
ARTWORK DESCRITION: ‘The cycle “Umaru” does not explore the in-between spaces inhabited by a whole group at risk of exclusion (as was the case in my previous work) but is focusing on the personal story of a single individual. Umaru is originally from Guinea-Bissau and in 2022 he was able to return to his home country for the first time to visit his family after waiting for 15 years for the appropriate documents. The three silkscreened and rolled-up glass spheres, exhibited in dialogue to each other, are a study for an installation based on texts written by Umaru himself and countless dialogues which took place in my studio during the pandemic captured on portraits.’
Cristina Migliorini
Cristina Migliorini, Argentina
Aquarius, 2019
pate de verre
Dimensions: 12/6/4
Aquarius, 2019
pate de verre
Dimensions: 12/6/4
Cristinа Ilinca
Cristina Ilinca, Romania, Woman (5), 2021, Blown glass, 40/12.5/15cm, ARWORK DESCRIPTION: My artist mission is to reflect into my work the miracle of life, to mirror as well as I can the fascinating diversity of life. Woman series is part of a larger cycle in my body of works called Miracle of Life. I think that glass, as a fragile, still robust material, with its unique qualities, is suitable for representing life. They both share fragility, delicacy and yet an incredible strength. The degrees of transparency one can obtain from glass are both marvelous metaphors and good enough physical representations for the mysterious processes of life creation.
Csilla Szilágyi
Csilla Szilágyi
Hungary, TRANSFUSE XVII., 2024, Kiln formed, Sandblasted, Layered, Mixed technique, Concrete, 46/46/10
Hungary, TRANSFUSE XVII., 2024, Kiln formed, Sandblasted, Layered, Mixed technique, Concrete, 46/46/10
Cаren Perera
Cаren Perera
Uruguay, Sound in silence, 2024, Pâte de verre, Digital printing, Glass-clay, optul, float and gold sheet, 32/19/53/30
Uruguay, Sound in silence, 2024, Pâte de verre, Digital printing, Glass-clay, optul, float and gold sheet, 32/19/53/30
Dainis Gudovskis
Dainis Gudovskis
Latvia, Connection 2, 2020, Assembled, Blown glass, 44/42/22
Latvia, Connection 2, 2020, Assembled, Blown glass, 44/42/22
Dainis Gudovskis
Dainis Gudovskis, Latvia
Remotely Happy, 2016,
Blown glass, 34/40/26cm
Remotely Happy, 2016,
Blown glass, 34/40/26cm
Dalia Doron
Dalia Doron, Israel, The deadly voyage towards freedom, 2022, Fused, Pâte De Verre, 24/12/6
ARTWORK DESCRIPTION: ‘This boat flotilla was created in memory of the immigrants who are trying to change their lives for the better and survive for a better future. The flotilla will include 34 boats, memorialising and honouring all those who drowned in that dilapidated boat in the English Channel, as well as all those who have lost their lives attempting to seek asylum. Then “What is the Measure of Man?” The thinness of the boats symbolizes the fragility of life. The colours I chose are white, red, and black, with a hint of blue. White or transparent glass symbolizes the transparency of the people, while red and black symbolize life and death, blood and mourning. The hint of blue represents the sea. Twisted ropes of red will also be attached as an ambiguous symbol of life and death.’
Dalia Doron
Dalia Doron
Israel, Whirlwind of Thought, 2023, Kiln formed, 35/45/2
Israel, Whirlwind of Thought, 2023, Kiln formed, 35/45/2
Dan Mirer
Dan Mirer
USA, Bubble Orb, 2011
Blown glass, hot worked, sandblasted, 10/13/13
USA, Bubble Orb, 2011
Blown glass, hot worked, sandblasted, 10/13/13
Dan Popovici
Dan Popovici
Romania, Suction Cup, 2021, Engraved, Fused Glass, Dimensions 7/7/17
Romania, Suction Cup, 2021, Engraved, Fused Glass, Dimensions 7/7/17
David Schnuckel
David Schnuckel, United States
Cartograph, 2017
blown glass, fused glass, free fall, other
Dimensions: 50/50/5
Cartograph, 2017
blown glass, fused glass, free fall, other
Dimensions: 50/50/5
Demetra theofanous/Dean Bensen
Demetra Theofanous/Dean Bensen, United States, Beneath your feet, 2019, Pâte De Verre, Sandblasted, Dimensions 6/34/44
Derya Geylani Vurusan
Derya Geylani Vurusan, Turkey, White Night ( “Moment” series), 2021, Flame worked, Mixed technique, Dimensions 30/35/20
Desiree Sessegolo
Désirée Sessegolo, Brazil, Voids, 2020, Mixed Technique, Dimensions 3/31/31
Desiree Sessegolo
Desiree Sessegolo, Brazil
AMAZON, 2018
fused glass, mixed technique
Dimensions: 200/400/20
AMAZON, 2018
fused glass, mixed technique
Dimensions: 200/400/20
Dimitra Yonkova
Dimitra Yonkova, Bulgaria
Sunrise, 2016,
Fused glass
Dimensions: 45/45
Sunrise, 2016,
Fused glass
Dimensions: 45/45
Dominique Jurić
Dominique Jurić, Croatia, Rising, 2021, Mixed Technique, Dimensions 30/30/30
Dongmin Lee
Dongmin Lee
Germany/ South Korea, Kingfisher, 2024, Blown glass, Sandblasted, Cold worked, Engraved, 30/15/10/15
Germany/ South Korea, Kingfisher, 2024, Blown glass, Sandblasted, Cold worked, Engraved, 30/15/10/15
Eda Ilbeyci
Eda Ilbeyci, Turkey
Existence, 2019
kiln casting glass, molded
Dimensions: 28/15/10
Existence, 2019
kiln casting glass, molded
Dimensions: 28/15/10
Elena Shushlyakova
Elena Shushlyakova, Russian Federation
Day before spring, 2018
kiln casting glass, mixed technique, other
Dimensions: 500/200/350
Day before spring, 2018
kiln casting glass, mixed technique, other
Dimensions: 500/200/350
Elenora Koh
Elenora Koh
Singapore, No Thing, 2020
Singapore, No Thing, 2020
Eliana Della Flora
Eliana Della Flora
Australia, After the Fires, 2022, Kiln cast, Glass with inclusions, Author’s technique, copper , 4.5/25/4,5
Australia, After the Fires, 2022, Kiln cast, Glass with inclusions, Author’s technique, copper , 4.5/25/4,5
Elina Bilous
Elina Bilous, Ukraine
The memory of earth, 2015-2017
Пам’ять землі
Fusing, Metallization
Dimensions: 35/35/3
The memory of earth, 2015-2017
Пам’ять землі
Fusing, Metallization
Dimensions: 35/35/3
Elke Mank
Elke Mank, Germany, Bombing Sofia 1944; What Remains? 1944, 2022, Painted glass, fused, 2 x 30/30/0.6
ARTWORK DESCRIPTION: ‘Time and again wars are fought and the result is always destruction, misery, hopelessness and death. The price of war is paid by soldiers and the population of all countries involved. In times of globalization, the whole world suffers from the striving for power of individuals. The partly transparent pictures, which are almost only possible with glass, allow a different view of the war. Then only when we see the hopelessness and need clearly can we understand, help and learn from the mistakes.’
Elmira Belova
Elmira Belova, Russian Federation, The balance, 2016, Blown Glass, Cold Worked, Dimensions 50/10/13
Eunkyong Lee
Eunkyong Lee, Republic of Korea, The melody in the landscape, 2020, Cold worked, Fused, Kiln Cast, Dimensions 24/40/3
Eunkyoung Lee
Eunkyoung Lее, Republic of Korea, Overlapping Sequence, 2022, Cold worked, Kiln formed, Fused, 31/57/53
Eunkyoung Lee
Eunkyoung Lee
South Korea, Untitled, 2022, Kiln cast, Kiln formed, Cold worked, 26/30/7
South Korea, Untitled, 2022, Kiln cast, Kiln formed, Cold worked, 26/30/7
Evgenia Lukianova
Evgenia Lukianova, Russian Federation, Regatta, 2020, Cold Worked, Dimensions 150/57/75
Fatma Ciftci
Fatma Ciftci, Turkey
Leave! 2017
Git!
Kiln casting, cold-working, sanding
Dimensions: 5/24/30
Leave! 2017
Git!
Kiln casting, cold-working, sanding
Dimensions: 5/24/30
Gayle Buzzi
Gayle Buzzi, Canada
The Coons, 2019
pate de verre
Dimensions: 12/30/12
The Coons, 2019
pate de verre
Dimensions: 12/30/12
Giovanni Paseri
Giovanni Paseri
Venezuela, Linear Optic, 2022, Kiln formed, Optical glass, metal, nylon, 25/25/8
Venezuela, Linear Optic, 2022, Kiln formed, Optical glass, metal, nylon, 25/25/8
Giovanni Paseri
Giovanni Paseri, Venezuela, Optical Helicoid, 2022, Fused glass, assembled, 20/20/130
ARTWORK DESCRIPTION: ‘“Optical Helicoid” is a installation conceived as a three-dimensional structure made up of tetrahedrons with glassy edges, which rotate in a helical mode. The geometry of this work generates a rigid and at the same time flexible volumetry, between material (glass) and space (empty), contrasting with the fragility of glass and the structural strength of a 3D truss, antagonistic concepts within the same object.” In some of the triangular faces, optical pieces are inserted that seem to float along the structure and also outside it when illuminated, projecting onto the surrounding planes, making a light play of reflection and refraction.’
Grisel Pereyra
Grisel Pereyra, Uruguay, Memories in the bubble, 2021, Mixed Technique, Dimensions 40/40
Guillaume Roux
Guillaume Roux
France, Sea shell, 2023, Blown glass, 40/12/12
France, Sea shell, 2023, Blown glass, 40/12/12
Guillermo Silpituca & Diana Pries dos Santos
Guillermo Silpituca & Diana Pries dos Santos
Argentina
The printed pineapple, 2019
kiln casting glass, pate de verre
Dimensions: 27/35/24
Argentina
The printed pineapple, 2019
kiln casting glass, pate de verre
Dimensions: 27/35/24
Han de Kluijver
Han de Kluijver, Netherlands, Anchored movement, 2019, Kiln cast glass, 140/40/25
Hazer Coşgun Kırkpınar
Hazer Coşgun Kırkpınar
Turkey, Luwian God of Sun, 2024, Blown glass, Kiln cast, brass, lead, 40/40/5/40
Turkey, Luwian God of Sun, 2024, Blown glass, Kiln cast, brass, lead, 40/40/5/40
Herbert Monsieur
Herbert Monsieur, Belgium, Impression of a sunset, 2020, Assembled, Cold worked, Stained glass, Mixed Technique, Dimensions 40/30/30
Ian Shishido
Ian Shishido
United States, Isolation, 2022, Kiln cast, Lost wax technique, 49/33/7/33
United States, Isolation, 2022, Kiln cast, Lost wax technique, 49/33/7/33
Ingrid Válint
Ingrid Válint
Hungary, The power of nature, 2022, Blown glass, Hot worked, 21/20/24
Hungary, The power of nature, 2022, Blown glass, Hot worked, 21/20/24
Inguna Audere
Inguna Audere, Latvia, Mitten of My Past, 2022, Кiln cast, cold worked, painted, 60/11/13
ARTWORK DESCRIPTION: ‘Rooted in Latvian mythology and traditions every mitten has a story. Every pattern has meaning bringing with it a special wish represented by symbols found in the pattern. This mitten’s shape taken from my hand reflects personal ethnography where chosen symbols from everyday life are embedded in the work. These symbolic objects, my mother-in-law’s jade beads, a poppy head, and clock pointer, together create a narrative or a form of visual poetry.’
Inita Emane
Inita Emane, Latvia, Horizon line, 2022, Assembled, Cold worked, Kiln formed, Fused, Mixed technique, 21/39/26
ARTWORK DESCRIPTION: Man lives in harmony with nature, its resources. The aggressive and irresponsible activity of the industry poses a threat of disaster to our Baltic Sea. The pollution is faster than the plans to save the existing ecological environment of the Baltic Sea. Horizon line- gives feelings of infinite peace to emotions and joy of life. How to protect it?
Ioana Stelea
Ioana Stelea, Romania, Notes, 2021, Blown Glass, Cold Worked, Engraved, Dimensions 70/60/20
Iva Kolorenčová
Iva Kolorenčová
Czech Republic, Nad Nisou, 2018, float glass, painted glass, mixed technique, 240/320/70mm(5x)
Czech Republic, Nad Nisou, 2018, float glass, painted glass, mixed technique, 240/320/70mm(5x)
Iva Kolorenčová
Iva Kolorenčová, Czech Republic
Above Elbe, 2008
Nad Labem
Painting on glass
Dimensions: 6×25/35
Above Elbe, 2008
Nad Labem
Painting on glass
Dimensions: 6×25/35
Ivaylo Nenov
Ivaylo Nenov
Bulgaria, Bagpipes, 51/ 24/109
Bulgaria, Bagpipes, 51/ 24/109
Izabela Carlucci
Izabela Carlucci
United States, Saint Lucy, 2024, Stained glass, copper, lead, 38/31/1
United States, Saint Lucy, 2024, Stained glass, copper, lead, 38/31/1
Jacob Willcox
Jacob Willcox, USA
Conversation, 2018
Conversation, 2018
Jaime Graschinsky
Jaime Graschinsky
Argentina, Woman with Light, 2018, kiln casting glass, 22/15/15
Argentina, Woman with Light, 2018, kiln casting glass, 22/15/15
Jainer Leon
Jainer Leon
Colombia, Chair of Time, 2022, Kiln formed, float glass, 20/20/15
Colombia, Chair of Time, 2022, Kiln formed, float glass, 20/20/15
Jakub Sojka
Jakub Sojka
Slovakia, Circulation, 2023, Kiln cast, Sand cast, Sandblasted, Cold worked, Optical glass, 15/35/35/35
Slovakia, Circulation, 2023, Kiln cast, Sand cast, Sandblasted, Cold worked, Optical glass, 15/35/35/35
Jan Hooghiemstra
Jan Hooghiemstra, Netherlands, Journey, 2020, Sand Cast, 42/62/11cm
Jan Hooghiemstra
Jan Hooghiemstra, Netherlands, Carry on, 2021, Sand cast, 10/22/22cm
Jasminka Begić
Jasminka Begić, Croatia, Turn on the light when I’m gone, 2021, Fused, 35/45/8
Jean Thebault
Jean Thebault, France, Lava Flow, 2020, Blown Glass, Cold Worked, Dimensions 40/27/12
Jean-Philippe Paumier
Jean-Philippe Paumier, Netherlands, Eternal Spring, 2020, Hot worked, Mixed Technique, Dimensions 48/16/6
Jelena Popadic
Jelena Popadic, Netherlands, Byzantium Blue, 2022, Blown glass, Sandblasted, 18/21/2cm, ARTWORK DESCRIPTION: Tara throne is a unique glass sculpture dedicated to my daughter Tara and spiritual connect that we had when she was growing in my belly. I often heard her singing and this peace is a visualisation of my daughter songs songs and stories recorded in “Acasha lybrari”
I graduated in the glass department in 1991 at the G. Rietveld academy in Amsterdam and last 31 years I am working as an independent artist, designer and lecturer.
I graduated in the glass department in 1991 at the G. Rietveld academy in Amsterdam and last 31 years I am working as an independent artist, designer and lecturer.
ARTIST’S INFO: Jelena Popadic (1964, Yugoslavia) studied Civil Engineering in her native country and then went on to study art and graduate with a BA in Art & Design from the Rietveld Academy in Amsterdam. Since her graduation she works as an independent glass artist and teacher but she also has been active in the field of painting, music and cinema.
Her objects are usually made of blown glass, mainly sphere, cylinder or cone shaped and often color underlayed. Signature cold working techniques are cutting and above all deep sandblasting, creating deep almost surreal indents in the objects’ surfaces. The symmetrical patterns she creates refer to cell structures, crystals, molecules and atoms. She transforms glass into subdued objects which become very different in their outward appearance.
One of the most prestigious works Jelena Popadic has made is the traditional “Oranje Vaas” on the occasion of the 25th anniversary of Queen Beatrix as monarch of The Netherlands. Her work is part of many private and public collections, including the Dutch National Glass Museum and the acclaimed Ernsting Stiftung Glasmuseum in Germany.
Jianyong Guo
Jianyong Guo, China, Brilliant life, 2021, Assembled, Cold worked, Engraved, Kiln cast, Mixed technique, Painted, 61/75/25cm
Jiemin Park
Jiemin Park
South Korea, Dal Hangari 302, 2024, Blown glass, Kiln formed, Glass with inclusions, 17/16/16
South Korea, Dal Hangari 302, 2024, Blown glass, Kiln formed, Glass with inclusions, 17/16/16
Jietong Xu
Jietong Xu
China, United Kingdom, Interwoven Will 1&2, 2024, Lamp worked/ Flame worked, 19/22/14
China, United Kingdom, Interwoven Will 1&2, 2024, Lamp worked/ Flame worked, 19/22/14
Joaquim Falcó and Meritxell Tembleque
Joaquim Falcó and Meritxell Tembleque, Spain, All fires, 2021, Cold Worked, Fused, Layered, Dimensions 70/45/37
Jonas Noël Niedermann
Jonas Noël Niedermann, Switzerland
Floating Lines, 2018
blown glass, sand blasted glass, cold-worked, 20/28/28cm, ARTWORK DESCRIPTION: The work represents my fascination for glass: its transparency, multiple layers – and therefore – its illusionary. White and black lines are flowing in the transparent glass imitating smoke lines in the air. This self invented technique working with folding coloured lines in transparent hot and glowing glass, allows to work on multiple layers. The strings/pattern is not as usual on one layer between the glass but moves up and down in all glass layers. Not knowing where the start and the end of the string is – similar to such on a DNA string – the pieces have unique details. The surface of intertwined strings are in a high contrast to the monochrome inside, and because of its complicated technique they will never meet. Transparent glass is always in between in order to let the strings float up and down in the material. A new and unique approach letting the lines flow not only in one of the consecutive layers but exploring different depths of the glass. This technique is a result of working experiences as a glassblower made during my 36 months of glass journey in Murano | Italy, Denmark, Austria, Germany, Sweden, and the USA.
ARTIST’S INFO: Jonas Noël Niedermann attributes his precise eye for shapes and dimensions to the mighty Swiss mountain ranges he grew up in. Working with those who devoted their entire lives to glass art, he developed a unique appreciation for the intricacies of glass, studying everything from the big picture to the smallest details. As a result he has an artistic voice that is strongly individual while echoing the works of historical greats.
Floating Lines, 2018
blown glass, sand blasted glass, cold-worked, 20/28/28cm, ARTWORK DESCRIPTION: The work represents my fascination for glass: its transparency, multiple layers – and therefore – its illusionary. White and black lines are flowing in the transparent glass imitating smoke lines in the air. This self invented technique working with folding coloured lines in transparent hot and glowing glass, allows to work on multiple layers. The strings/pattern is not as usual on one layer between the glass but moves up and down in all glass layers. Not knowing where the start and the end of the string is – similar to such on a DNA string – the pieces have unique details. The surface of intertwined strings are in a high contrast to the monochrome inside, and because of its complicated technique they will never meet. Transparent glass is always in between in order to let the strings float up and down in the material. A new and unique approach letting the lines flow not only in one of the consecutive layers but exploring different depths of the glass. This technique is a result of working experiences as a glassblower made during my 36 months of glass journey in Murano | Italy, Denmark, Austria, Germany, Sweden, and the USA.
ARTIST’S INFO: Jonas Noël Niedermann attributes his precise eye for shapes and dimensions to the mighty Swiss mountain ranges he grew up in. Working with those who devoted their entire lives to glass art, he developed a unique appreciation for the intricacies of glass, studying everything from the big picture to the smallest details. As a result he has an artistic voice that is strongly individual while echoing the works of historical greats.
Josipa Baljak
Josipa Baljak, Croatia, Brass line, 2021, Cold Worked, Fused, Mixed Technique, Dimensions 30/30/70
Josipa Baljak
Josipa Baljak, Croatia
The relationship of blue, 2019, Kiln casting glass, cold-worked, Dimensions: 35/35/35
The relationship of blue, 2019, Kiln casting glass, cold-worked, Dimensions: 35/35/35
Julia Ciułek
Julia Ciułek
Poland, You are so special, 2024, Blown glass, Kiln formed, 35/40/55
Poland, You are so special, 2024, Blown glass, Kiln formed, 35/40/55
Julia Kastler
Julia Kastler, Austria, Heart Space, 2020, Painted, Stained glass, Dimensions 61,4/45/4
Julia Kruteeva
Julia Kruteeva, Russian Federation, The soul of botanist departing to his paradise, The soul of botanist departing to his paradise, 2019, 71×40
Julia Rokina
Julia Rokina, Russian Federation, Illusion, 2015, Cold Worked, Fused, Glass with inclusions, Dimensions 18/13/10
Julia Rokina
Russian Federation, Oreada, 2013, Cold worked 30/15
Justyna Żak
Justyna Żak, Poland, Wild Hive, 2022, Blown glass, Cold worked, Mold blown, 3 х 20/12, ARTWORK DESCRIPTION: ‘The series of objects entitled Wild Hive with their structure refer to the forms and structures of natural, organic creations built on the branches and the interiors of trees by forest
bees. Glass, especially this formed by means of hot shop techniques, has many features that can be easily assigned to the natural world. I have always associated a gather of glass taken from a furnace and wound up on the blowpipe with honey. The colour, light reflection,
optics and the relationship of these two materials seem very close. The similarity can be noticed not only in visual aspects, but also in the production process itself, in which harmonization, a vision of a common goal and the ability to work in a group are the fundamental features. In the case of bees, this will be the time of collecting and storing nectar. During the execution of a glass object, this is due to involvement and coordination of the team. However, it all comes down to a situation in which we become ‘consciously present’. We are not
separate individuals existing in a vacuum. We are all part of a larger
whole, as Nature in a simple way constantly reminds us.’
bees. Glass, especially this formed by means of hot shop techniques, has many features that can be easily assigned to the natural world. I have always associated a gather of glass taken from a furnace and wound up on the blowpipe with honey. The colour, light reflection,
optics and the relationship of these two materials seem very close. The similarity can be noticed not only in visual aspects, but also in the production process itself, in which harmonization, a vision of a common goal and the ability to work in a group are the fundamental features. In the case of bees, this will be the time of collecting and storing nectar. During the execution of a glass object, this is due to involvement and coordination of the team. However, it all comes down to a situation in which we become ‘consciously present’. We are not
separate individuals existing in a vacuum. We are all part of a larger
whole, as Nature in a simple way constantly reminds us.’
Kanako Togawa
Kanako Togawa
Japan, Accumulation of Moments, 2024, Cold worked, Painted, 70/10/11
Japan, Accumulation of Moments, 2024, Cold worked, Painted, 70/10/11
Karen Browning
Karen Browning
United Kingdom, Miss. Spent-Youth, 2024, Kiln cast, Lost wax technique, Gilded, Author’s technique, 22/12/10/34
United Kingdom, Miss. Spent-Youth, 2024, Kiln cast, Lost wax technique, Gilded, Author’s technique, 22/12/10/34
Karen Browning & Jon Lewis
Karen Browning & Jon Lewis
United Kingdom, Core 003, 2024, Kiln cast, Cold worked, metal, 20/8/8
United Kingdom, Core 003, 2024, Kiln cast, Cold worked, metal, 20/8/8
Karen Nyholm
Karen Nyholm, Denmark, Flourish, 2020, Hot sculpted, glass with inclusions, 93/33/22cm, ARTWORK DESCRIPTION: I strive to be excellent at my craft. This skill set opens up possibilities for making work of high quality. At the same time it can be a limitation for expression. Sometimes it is necessary for me to take a step back and observe the habits and the paths that I have trod so many times before. And the result can be that I fall in love with the material anew. My work often concerns the body and various emotions relating to different parts of the body. All my life I have been creating things with my hands. My hands perform a kind of communication, sometimes with me as a puzzled spectator. My sources of inspiration are dynamic and constantly moving. Transience and our interaction with nature are important issues in my works. In addition to glassblowing, I use techniques from other disciplines such as silversmithing, oilpainting, ink, beadmaking and ceramics. This cross-over is very stimulating and opens up new ideas and possibilities for my artistic expression.
Katherine Southam
Katherine Southam, Canada
Journey, 2019
kiln casting glass, glass with inclusions, other
Dimensions: 13/6/32
Journey, 2019
kiln casting glass, glass with inclusions, other
Dimensions: 13/6/32
Keith Dymond
Keith Dymond
United Kingdom, Shattered, 2024, Kiln formed, Author’s technique, 26/26/9.5
United Kingdom, Shattered, 2024, Kiln formed, Author’s technique, 26/26/9.5
Kim Gromoll
Kim Gromoll, Netherlands, Cocoon, 2020, Lamp worked/Flame worked, Mixed technique, dimensions variable (1 – 10 cm)
ARTWORK DESCRIPTION: ‘Within cocoon a selection is shown of an ongoing process in which deceased insects are gathered throughout daily life. A fragile husk is all that remains from many of these creatures, yet upon closer inspection immense beauty may be found in their transient physical presence. Through adopting the insects into this colony of unseen passing, a new stage in the post-lifecycle is set in motion. Encased in a thin and vulnerable glass cocoon, they are offered temporary protection & preservation from outside influences, human or natural alike. The glass cocoon as an intervention allows for the short life of each of these individuals to resonate beyond their own time. An opportunity for us to take a more attentive look at these tiny beings which account for the majority of life on the planet.’
Kim Logue
Kim Logue, New Zealand
Melts, 2018
Kiln casting glass, fused glass, glass with inclusions, mixed technique
Dimensions: 5/27/36
Melts, 2018
Kiln casting glass, fused glass, glass with inclusions, mixed technique
Dimensions: 5/27/36
Krista Israel
Krista Israel, Netherlands, Seedpod #4, Seedpod Series, 2014, Flame Worked, Blown Glass, Cold Worked, Assembled, 20/20/20cm, ARTWORK DESCRIPTION: Seedpod Series of small glass objects is an ongoing series since 2014. It consists of small seeds covered with glass spikes. These pieces are made when I need time to think about bigger and complex work.
ARTIST INFO:
“Krista Israel is a mixed media artist with a main focus on glass. Looking at her work it is like entering a story. The artworks are pleasing to the eye, but there is a layer of bittersweetness in all of them. Her works are in a realistic style, but it is not about the obvious reality. She is an artist who uses a broad variety of techniques, using the natural characteristics of glass to express her thoughts and reflections of the world and people, thus addressing the needs of our well-being. The combination of different techniques and her thoughts make her work complex and intriguing.”
Helene Besancon National Glass Museum (NL), Neues Glas Magazine
ARTIST INFO:
“Krista Israel is a mixed media artist with a main focus on glass. Looking at her work it is like entering a story. The artworks are pleasing to the eye, but there is a layer of bittersweetness in all of them. Her works are in a realistic style, but it is not about the obvious reality. She is an artist who uses a broad variety of techniques, using the natural characteristics of glass to express her thoughts and reflections of the world and people, thus addressing the needs of our well-being. The combination of different techniques and her thoughts make her work complex and intriguing.”
Helene Besancon National Glass Museum (NL), Neues Glas Magazine
Kristina Ligačová
Kristina Ligačová
Slovakia, Fragment, 2023, Kiln formed, Mixed technique, Author’s technique, cyanotype on glass fabric, 15 х 35/30/23
Slovakia, Fragment, 2023, Kiln formed, Mixed technique, Author’s technique, cyanotype on glass fabric, 15 х 35/30/23
Kristína Ligačová
Kristína Ligačová, Slovakia, Bubbles, 2020, Blown Glass, Mixed Technique, Dimensions 25/25/19
Kseniia Vekshina
Kesniia Vekshina
Russian Federation, Spring Wind, 2020, Kiln Cast, Dimensions 24.5/26.5/1.8
Russian Federation, Spring Wind, 2020, Kiln Cast, Dimensions 24.5/26.5/1.8
Kseniia Vekshina
Kseniia Vekshina, Russian Federation
Ice, 2016
kiln casting glass
Dimensions: 39/43/1.5
Ice, 2016
kiln casting glass
Dimensions: 39/43/1.5
Kwun Lan Wong
Kwun Lan Wong, China, I thought you were listening, 2022, Blown glass, Hot sculpted, Painted, 67/40/30
ARTWORK DESCRIPTION: ‘Using life-sized glass characters, my work manifests the anxiety generated by the fragility of trust and intimacy in contemporary human relationships. The medium of glass allows me to demonstrate the interdependent relationship of life. Glassblowing requires close teamwork. Based on the logic of human coexistence, the further we are away from our community, the harder it is for us to feel peace and satisfaction. With the help and trust of other glassblowers, My character expresses my inner self in this safe community. Characters’ forms and gestures evoke the audience’s empathy.’
Lada Uchaeva
Lada Uchaeva, Russian Federation
Silense, 2018
print on glass, cold-worked
Dimensions: 40/34/10
Silense, 2018
print on glass, cold-worked
Dimensions: 40/34/10
Laura Kriefman
Laura Kriefman
United Kingdom, Cleo, 2025, Stained glass, 42/42/0.6
United Kingdom, Cleo, 2025, Stained glass, 42/42/0.6
Laura Lærke Nielsen
Laura Lærke Nielsen, Denmark, Tactile Landscape, 2022, Blown glass, 18/18/32cm,
ARTWORK DESCRIPTION: Working with shards I create a sculptural surface I refer to as a landscape. It requires the cooperation of the materials, as the glass body partly determines where and how specific shards attach. This cooperation is half frustration, half fascination, as the at times wayward behavior of the glass body and the inability to shape it with my hands, makes the process wild and messy.
The end result does not reflect that, instead it appears friendly, soft and appetizing.
ARTIST’S STATEMENT: ‘I have always been creative, and during my own creative development, I discovered glassblowing during a stay at a folk high school.
Glass is a fantastic material to work with—robust, sensitive, and willful. I find it exciting to challenge the classic, clean style in glass, which is why I think my glass pieces have a playful and sensual expression. They are all made with immense love for and respect for the material and the process, and each individual piece of glass has received special treatment.
My designs are contemporary fusions of sculptural and functional elements.
I work with recycling shards from failed glass pieces. Admittedly, it’s a simple idea to transform something flawed into something new and beautiful, but nonetheless, it’s a condition for all people. It’s something we all experience throughout life in different disguises.
In my glass pieces, there is a clear connection between the old, broken, and the new, colorful. I work with two different expressions, depending on how early in the process I melt the shards in—I call them tactile and swirley.
Swirley is when the shards are fully melted in, and the colors take on a watercolor-like expression. The tactile is when the shards are melted into the glass later and protrude. It’s the hardest to work with, as it disrupts the glass bubble or glass body during the process, and it’s naturally not possible to shape the body itself after the shards are fused in. It is a constant source of both fascination and frustration.
I stick to a basic form for the glass body, as the shards should be the focus.I have always been creative, and during my own creative development, I discovered glassblowing during a stay at a folk high school.
Glass is a fantastic material to work with—robust, sensitive, and willful. I find it exciting to challenge the classic, clean style in glass, which is why I think my glass pieces have a playful and sensual expression. They are all made with immense love for and respect for the material and the process, and each individual piece of glass has received special treatment.
My designs are contemporary fusions of sculptural and functional elements.
I work with recycling shards from failed glass pieces. Admittedly, it’s a simple idea to transform something flawed into something new and beautiful, but nonetheless, it’s a condition for all people. It’s something we all experience throughout life in different disguises.
In my glass pieces, there is a clear connection between the old, broken, and the new, colorful. I work with two different expressions, depending on how early in the process I melt the shards in—I call them tactile and swirley.
Swirley is when the shards are fully melted in, and the colors take on a watercolor-like expression. The tactile is when the shards are melted into the glass later and protrude. It’s the hardest to work with, as it disrupts the glass bubble or glass body during the process, and it’s naturally not possible to shape the body itself after the shards are fused in. It is a constant source of both fascination and frustration.
I stick to a basic form for the glass body, as the shards should be the focus.’
Laura Madsen
Laura Madsen, Denmark
Gargoyle Meltdown, 2017
blown glass, mixed technique
Dimensions: 23/17/17
Gargoyle Meltdown, 2017
blown glass, mixed technique
Dimensions: 23/17/17
ARTWORK DESCRIPTION: ‘I am primarily educated at Orrefors Glassbruk in Sweden but I have also worked at Simone Cenedese in Venice. In addition, I have participated in several courses around the world for example at Sar-Porteries, France and at Pilchuck in Seattle. In 2002 I founded my own studio LaMa Glas in Denmark, where I have been working ever since. I have always been fascinated by the glowing hot glass and the bright orange colour. I find that the transparency and fragility of the finished glass pieces are in great contrast to the intense work process with the hot melted glass. I try to maintain a moment of this process in my work to achieve a lively and organic expression. I have chosen a piece from my “gargoyle” collection, where I combine sandcasted heads with the hot blown glass. Gargoyle melt down is a sculpture/vessel, where I have applied sand casted heads and then gathered glass around it. The shape of the heads melts and the faces left in the glass are traces made only out of small bobbles and sand grit; it appears as a frozen moment of time.’
Laure Fradin
Laure Fradin, France
Behind The Clouds, 2016
blown glass, 30/10/92cm, ARTWORK DESCRIPTION: This piece is a homage to some of the beautiful things that my mother told me as a kid. The first time that I was confronted by the loss of a member of my family, I felt devastated and lonely. My mother told me that, if I found some pink clouds in the sky, it meant that the relative who I had lost was thinking about me. And in a way I can still be connect to this person. These days I feel nostalgic and think of all the beautiful moments that I share with people that I love.
Behind The Clouds, 2016
blown glass, 30/10/92cm, ARTWORK DESCRIPTION: This piece is a homage to some of the beautiful things that my mother told me as a kid. The first time that I was confronted by the loss of a member of my family, I felt devastated and lonely. My mother told me that, if I found some pink clouds in the sky, it meant that the relative who I had lost was thinking about me. And in a way I can still be connect to this person. These days I feel nostalgic and think of all the beautiful moments that I share with people that I love.
Born in 1985 in Paris, France, Laure Fradin grew up in a normal family complete with plenty of secrets and baggage. As a little kid, Laure aspired to become a professional photographer of cats and dogs (for kitsch postcards), or a cathedral builder. After a Bachelor of Photography at the University of Paris VIII, Laure was introduced to glass through the stained-glass work of Fréderic Biardeau. At this time, Laure was beginning to explore family stories through her photography. She also began to question how to capture the significance of everyday objects.
In 2010, Laure found her true passion for glass and decided to start blowing glass full time. This love would inspire her to leave Paris for a small village of 500 people to learn the craft. After two years honing her skills, she graduated with first class honors from the CERFAV. Her curiosity for glass drove her to travel around the world and led her to spent six months in the Tobias Mohl Studio, in Denmark. She is now a design associate at JamFactory in South Australia where she continues to explore ideas of haunting family histories and the creative potential of everyday objects in her work.
Lee Harris
Lee Harris, United States, Reliquary of a Pope, 2021, Assembled, Blown Glass, Hot Sculpted, Dimensions 46/20/20
Ljiljana Barković
Ljiljana Barković, Croatia, Couple, 2021, Cold Worked, Fused, Kiln Cast, Mixed Technique, Dimensions 13/6/6.5
Lothar Böttcher
Lothar Böttcher, South Africa, Crouching Leopard, 2021, Cold worked (Schott optical glass), 19/5/12cm, ARTWORK DESCRIPTION: Crouching Leopard is part of my Precious Beast series of sculptures inspired by Palaeolithic art. My Precious Bests are a meditation on the process of making, linking mankind throughout millennia as imaginative and creative creatures. These fantastical beasts are an attempt to find the magic within us all.
ARTIST INFO:Lothar Böttcher intersects sculpture, photography and light to create visually striking works that ignite curiosity, tell stories and combine exceptional craftsmanship in the oeuvre of glass as expressive medium.
Lothar’s work has been seen in museums and galleries around the world since the late 1990’s, including the Corning Museum of Glass (USA), the Pretoria Art Museum (South Africa), the Glasmuseum Frauenau (Germany), the Glasmuseum Lette (Germany), the Glasmuseum Hadamar (Germany), the Toyama Art Glass Museum (Japan) and the Smithsonian Renwick Gallery (USA).
His work can be found in public collections of museum, as well private collections world wide, most notably the Corning Museum of Glass and the Glasmuseum Frauenau.
Lothar is a leading voice for the creative glass community, curating and coordinating several major exhibitions and project, such as Fired Up! for the United Nations’ International Year of Glass 2022 at the Pretoria Art Museum. He has instigated and lead collaborative projects to promote the use of glass as an expressive medium through the “Blow Your Sculpture” events hosted since 2016.
Lothar also shares his knowledge as invited guest lecturer at the Tshwane University of Technology’s Glass Art & Design department.
For the 2024 Glass Art Society conference in Berlin, Lothar is part of the international cold-working collective, the Lathe Riders.
The Lathe Riders will, for the first time in history, open the GAS conference with a cold-working demo.
Lothar- Böttcher
Lothar Böttcher
South Africa/ Germany, Spot the Lines, 2024, Kiln formed, Cold worked, Laminated, Layered, Optical glass, 17/35/6
South Africa/ Germany, Spot the Lines, 2024, Kiln formed, Cold worked, Laminated, Layered, Optical glass, 17/35/6
Lucian Butucariu
Lucian Butucariu, Romania, Portrait, 2021, Acid Etching, Blown Glass, 15/10/20cm, ARTIST INFO: Born in 1958, 6 September, Brusturoasa-Bacau, Romania
Finishes at the Art Institute “Nicolae Grigorescu” , 1982 promotion – Glass department, under the guidance of Dan Popovici and Ioan Lucia.
Starting 1982 works at the creative departments of Avrig and Stirom S.A. Bucharest, where he develops prototypes for mass production to clients from Romania and abroad.
Since 1990 he’s assistant, teacher and starting 2012 head of the Ceramics, Glass and Metal department at the National University of Arts Bucharest.
Since 1990 member of the Romanian Union of Artists, one of the main leaders of the Bucharest office, being involved in organizing different events like the “National Glass Salon”, “Arts of Fire” and “Recipient”.
Starting 1982 participates to almost all the exhibitions organized by the Romanian Union of Artists.
Finishes at the Art Institute “Nicolae Grigorescu” , 1982 promotion – Glass department, under the guidance of Dan Popovici and Ioan Lucia.
Starting 1982 works at the creative departments of Avrig and Stirom S.A. Bucharest, where he develops prototypes for mass production to clients from Romania and abroad.
Since 1990 he’s assistant, teacher and starting 2012 head of the Ceramics, Glass and Metal department at the National University of Arts Bucharest.
Since 1990 member of the Romanian Union of Artists, one of the main leaders of the Bucharest office, being involved in organizing different events like the “National Glass Salon”, “Arts of Fire” and “Recipient”.
Starting 1982 participates to almost all the exhibitions organized by the Romanian Union of Artists.
Lærke Laura Nielsen
Lærke Laura Nielsen
Denmark, Tactile Infatuation, 2024, Blown glass, Silvering, 23/16/13
Denmark, Tactile Infatuation, 2024, Blown glass, Silvering, 23/16/13
M. Guclu Polat
M. Guclu Polat, Turkey, Crack in Everything, 2016, Blown Glass, Hot Sculpted, Hot Worked, Sandblasted, 46/14/14cm, ARTWORK DESCRIPTION: My work is inspired by and it deals with how humans adapt (or cannot manage to adapt) themselves to the society dynamics in progress and how their awareness rises, changes and shapes up as they grow older. Just as we give shape to glass. The sculpture figures I made in “The Borders of Human Traits” series display how our bodies shape up as they tangle into these rules and borders, and the war between our inner world and the world outside. The contrast harmony of glass and copper material used, and how the copper wire entwines around the hot glass in order to shape it up, has given me a chance to give an abstract expression of how our characters are shaped up.
Maciej Dyszkiewicz
Maciej Dyszkiewicz
Poland, OCEANIC, 2017, Blown glass, engraved, 35/8/8
Poland, OCEANIC, 2017, Blown glass, engraved, 35/8/8
Magdalena Zarychta
Magdalena Zarychta
Poland, (COM)PRESSION XV, 2023, Blown glass, Hot sculpted, Hot worked, 55/25
Poland, (COM)PRESSION XV, 2023, Blown glass, Hot sculpted, Hot worked, 55/25
Makar Zhemchuzhnikov
Makar Zhemchuzhnikov, Russian Federation, The radius of freedom is the length of the chain, which we measure ourselves, 2019, Kiln Cast, Dimensions 70/12/12
Maria Torrendell
Maria Torrendell, Uruguay
Tribute, 2019
fused glass, float glass, print on glass, mixed technique
Dimensions: 39/30/26
Tribute, 2019
fused glass, float glass, print on glass, mixed technique
Dimensions: 39/30/26
Maria Usova
Maria Usova, Russian Federation, Forgotten Secret, 2017, Fused, Pâte De Verre, Dimensions 20/42/40
Mariana Sabbatella
Mariana Sabbatella
Argentina, Jellyfish, pelagia noctiluca, 2022, Kiln cast, Laminated, Digital printing, luminescent glaze, 19/27/4
Argentina, Jellyfish, pelagia noctiluca, 2022, Kiln cast, Laminated, Digital printing, luminescent glaze, 19/27/4
Maricel Alvarado Orozco
Maricel Alvarado Orozco, Costa Rica, In The Huge Sea, 2020, Cold worked, Enameled, Fused, 86/53/1,5cm
Marina Aletsee
Marina Aletsee
Germany, On the pulse of time, 2018, Kiln Cast, Dimensions 17/12/9
Germany, On the pulse of time, 2018, Kiln Cast, Dimensions 17/12/9
Markéta Váradiová
Markéta Váradiová
Czech republic, Germs of Infinity, 2019, molded glass, 10 psc, each 6/4/4
Czech republic, Germs of Infinity, 2019, molded glass, 10 psc, each 6/4/4
Markéta Váradiová & Iva Kolorenčová
Markéta Váradiová & Iva Kolorenčová
Czech Republic, Unpronounceable, 2021, fused glass, 2×30/4/21 cm, 1×15/4/21 cm
Czech Republic, Unpronounceable, 2021, fused glass, 2×30/4/21 cm, 1×15/4/21 cm
Markéta Váradiová and Iva Kolorenčová
Markéta Váradiová and Iva Kolorenčová, Czech Republic, NOVA, 2021, Cast crystal glass, 10/10/6
Markus Mäkinen
Markus Mäkinen, Finland, Critically Endangered, 2021, Fused Glass, Dimensions ⌀ 47
Markéta Váradiová
Markéta Váradiová, Czech Republic
Nebula M50, Mlhovina, 2017
Mirrors
Dimensions: 50 /80
Nebula M50, Mlhovina, 2017
Mirrors
Dimensions: 50 /80
Marta Ramírez
Marta Ramírez, Colombia, Water, The New Liquid Gold, 2021, Assembled, Flame Worked, Dimensions 23/34/15
Marta Ģibiete
Marta Ģibiete, Latvia, Wild bud, 2020, Fused Glass, Painted Glass, Mixed Technique, 15/35/15cm, ARTIST INFO: Marta Ģibiete creates new beings from pieces of glass; objects that appear to possess life, and one or two secrets on top of that. Like a miniature, mischievous God, she sculpts them a body, then breathes a soul into them. As the viewer, mesmerized, attempts to make contact with these alien life forms, he or she might ponder what constitutes consciousness, or personhood.
Marta Ģibiete works in various techniques, gaining particular recognition with spatial glass works created in an unusual technique and various scales. Marta’s glass sculptures are geometric and simultaneously poetic, created by cleverly circumventing the complex nature of glass technologies. She discovered this unique technique very early – during her studies, achieving international recognition which includes two important awards. Since then, Marta has participated in exhibitions, symposia, and conferences worldwide. In her artwork, Marta also employs other techniques – she likes to create glass installations in various environments, use a mirror, play with its versatile nature. Marta Ģibiete is a Latvian glass artist, born and raised in coastal city of Liepāja, currently lives and works in Riga. Graduated from the Art Academy of Latvia with a master’s degree. Marta’s creative work is often shown in group exhibitions all over the world, there have been several solo exhibitions in Riga, Latvia and abroad. The artist’s works are in the collections of glass and design museums of Europe and Japan, as well as Poland.
Marta Ģibiete works in various techniques, gaining particular recognition with spatial glass works created in an unusual technique and various scales. Marta’s glass sculptures are geometric and simultaneously poetic, created by cleverly circumventing the complex nature of glass technologies. She discovered this unique technique very early – during her studies, achieving international recognition which includes two important awards. Since then, Marta has participated in exhibitions, symposia, and conferences worldwide. In her artwork, Marta also employs other techniques – she likes to create glass installations in various environments, use a mirror, play with its versatile nature. Marta Ģibiete is a Latvian glass artist, born and raised in coastal city of Liepāja, currently lives and works in Riga. Graduated from the Art Academy of Latvia with a master’s degree. Marta’s creative work is often shown in group exhibitions all over the world, there have been several solo exhibitions in Riga, Latvia and abroad. The artist’s works are in the collections of glass and design museums of Europe and Japan, as well as Poland.
Martine Luttringer
Martine Luttringer
France, Fragment of History: Eve, 2022, Sand cast, Engraved, Mixed technique, 24/24/7
France, Fragment of History: Eve, 2022, Sand cast, Engraved, Mixed technique, 24/24/7
Marzena Wilk
Marzena Wilk
Poland, Delamination, 2024, Kiln formed, 58/58/10
Poland, Delamination, 2024, Kiln formed, 58/58/10
Masahiro Sasaki
Masahiro Sasaki, Japan, Tensei, 2011, Blown glass, Sandblasted, 52/19/20cm,
ARTWORK DESCRIPTION: In Japan, one of our aesthetics about craft is the “beauty of usage”. We used to translate Japanese ‟Kogei” to “Craft” with functionality in mind. But that translation is not enough to explain the current situation in Japan. Now many Japanese makers are producing sculpture concentrating on process and materials. This prevalent way of working produces a diversity of forms. Considering
this shift from functionality to sculptural form, the word “Kogei” takes on new meaning.
Matea Zeman
Matea Zeman
Croatia, Cirrostratus sepia, 2024, Kiln formed, Painted, Engraved, Mixed technique, 19/20/3
Croatia, Cirrostratus sepia, 2024, Kiln formed, Painted, Engraved, Mixed technique, 19/20/3
Matea Zeman
Matea Zeman, Croatia, Space Artifact 3/3, 2020, Cold Worked, Glass with Inclusions, Kiln Cast, Pâte De Verre, Dimensions 15/20/20
Michael Hernandez
Michael Hernandez, United States, Peekypucker, 2019, Assembled, Blown glass, Engraved, Hot worked, Flame worked, Dimensions 12/20/25
Michaela Spružinová
Michaela Spružinová, Czech Republic, Coral, 2022, Fused, Lamp worked/Flame worked, 15/15/30
ARTWORK DESCRIPTION: ‘The fragility of spatial drawings, determines the method of adjustment. It’s an extension to a story-telling and building a specific installation. Thin glass semi-finished products are drawn from various pieces of glass, which are recycled for a second life. Recycling glass is one of my basic philosophical attitudes on how not to overwhelm living space.’
Michaela Spružinová
Michaela Spružinová, Czech Republic, My Shoes, 2018, Fused Glass, Flame worked, Slumped, Dimensions 12/100/38
Ming-Fan Cheng
Ming-Fan Cheng, Taiwan, Gap of Flowing Light No.12, 2018, Fused Glass, Mixed Technique, Slumped, Dimensions 30/26/26
Ming-Fan Cheng
Ming-Fan Cheng, Taiwan, Gap of Flowing Light-NO.7, 2018, Forged, Slumped, 21/42/33cm
ARTWORK DESCRIPTION: This sculpture shows glass with liquid, flowing qualities by experimenting with the
physical phenomenon that sees glass under high heat and oozing out of a metal gap. The metal
vessel is covered with glass that appears supple yet frozen, and the metal’s rigidness and the
glass’s suppleness come to co-construct a transfixed organic state, which evokes a harmony
between essence, form, and concept. Furthermore, light is introduced to penetrate in from the
top of the artwork to create vibrant multilayered lights and shadows on the glass.
Ming-Fan, Cheng
Ming-Fan, Cheng, Taiwan
Soft Vase, 2015
Blown glass, 14х13х15 cm; 3 pieces
Soft Vase, 2015
Blown glass, 14х13х15 cm; 3 pieces
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland, Rarus I & II, 2022, Cold worked, Mixed technique, 21/11/11 | 23/11/10
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland
The New Sprout II, 2017
Molded, fused glass
Dimensions: 7/28/28
The New Sprout II, 2017
Molded, fused glass
Dimensions: 7/28/28
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland, Passion, 2020, Cold worked, Mixed Technique, Dimensions 31/11/6.5
Miroslava Ptáčková
Miroslava Ptáčková
Czech Republic, Horizon of the Landscape, 2024, Painted, Acid etching, Mirror glass, аuthor’s technique, hand-scratched, 25/31
Czech Republic, Horizon of the Landscape, 2024, Painted, Acid etching, Mirror glass, аuthor’s technique, hand-scratched, 25/31
Miroslava Ptáčková
Miroslava Ptáčková, Czech Republic, Nightfall, 2019, Painted Glass, Dimensions 27/34/1
Mitka Małgorzata
Małgorzata Mitka, Poland
Noble Chicks, 2016
Szlachetne Laski
Sumping, print on glass and paper
Dimensions: 100/70/200
Noble Chicks, 2016
Szlachetne Laski
Sumping, print on glass and paper
Dimensions: 100/70/200
Morgan Stockton
Morgan Stockton, United Kingdom, 2018,
Coiled 3,
Blown glass, glass with inclusions, cold-worked, mixed technique, 19/12/28cm, ARTWORK DESCRIPTION: Birmingham’s (United Kingdom) architectural, industrial and manufacturing heritage have informed my work conceptually and aesthetically, through my materials and using a restricted colour palette of greys to bring this to the foreground. Characterised by a minimal aesthetic and inspired by brutalist architecture, represented by the steel grid structures I create, that dictates the forms and surface pattern of the glass. I am actively investigating my personal heritage within Birmingham as well as my grandparents’ histories with the materials that we share a passion for and how this influences my practice. My great grandfather was a glass blower for Chance Brothers and Company, once a leading glass manufacturer and a pioneer of British glassmaking technology in Smethwick, Birmingham.
Coiled 3,
Blown glass, glass with inclusions, cold-worked, mixed technique, 19/12/28cm, ARTWORK DESCRIPTION: Birmingham’s (United Kingdom) architectural, industrial and manufacturing heritage have informed my work conceptually and aesthetically, through my materials and using a restricted colour palette of greys to bring this to the foreground. Characterised by a minimal aesthetic and inspired by brutalist architecture, represented by the steel grid structures I create, that dictates the forms and surface pattern of the glass. I am actively investigating my personal heritage within Birmingham as well as my grandparents’ histories with the materials that we share a passion for and how this influences my practice. My great grandfather was a glass blower for Chance Brothers and Company, once a leading glass manufacturer and a pioneer of British glassmaking technology in Smethwick, Birmingham.
Mustafa Ağatekin
Mustafa Ağatekin, Turkey, Day Dreams, 2017, Fused Glass, Dimensions ⌀40/2
Nanni Johanna Söderberg
Nanni Johanna Söderberg
Sweden, Out of sight I grow, 2024, Blown glass, Cold worked, 12/20/10
Sweden, Out of sight I grow, 2024, Blown glass, Cold worked, 12/20/10
Natalia Gerschcovich
Natalia Gerschcovich, Brazil, Invisible Joy, 2018, Mixed Technique, Dimensions 30/40
Negin Navabi
Negin Navabi
Iran, Nature in the Future, 2024, Kiln formed, Pâte de verre, Mixed technique, 8.5/ 27/ 26.5
Iran, Nature in the Future, 2024, Kiln formed, Pâte de verre, Mixed technique, 8.5/ 27/ 26.5
Negin Navabi
Negin Navabi, Iran, Catch, 2020, Kiln Cast, Dimensions 15/12/13
Nihat Demir
Nihat Demir
Turkey/ Belgium, Reflection, 2024, Optical glass, 17/37/9
Turkey/ Belgium, Reflection, 2024, Optical glass, 17/37/9
Nilgün Dicle
Nilgün Dicle, Turkey, Boat Carrying the Sea, 2019, Layered, Slumped, Dimensions 35/20/10
Olga Zakirova
Olga Zakirova
Russia/ Germany, Flower world, 2024, Lamp worked/ Flame worked, 5,1/1,5
Russia/ Germany, Flower world, 2024, Lamp worked/ Flame worked, 5,1/1,5
Ömür Duruerk
Ömür Duruerk
Turkey, Spinal, 2023, Kiln cast, Lamp worked/ Flame worked, lost wax technique, 48/40/9
Turkey, Spinal, 2023, Kiln cast, Lamp worked/ Flame worked, lost wax technique, 48/40/9
Palo Macho Jana Hojstricova
Palo Macho and Jana Hojstričová, Slovakia, Between Rooms, 2021, Cold Worked, Digital Printing, Fused Glass, 102/30/80cm
Pascale Seil
Pascale Seil, Luxembourg, Snake, 2020, Assembled, Blown glass, Cold worked, Engraved, Hot sculpted, Hot worked, Mixed technique, Dimensions 44/5/8.5
Patricia Bagniewski
Patricia Bagniewski, Brazil, X-ray, 2020, Digital printing, Kiln cast, Lamp worked/Flame worked, Slumped, Dimensions, 30/30
Péter Borkovics
Péter Borkovics
Hungary, Red Refract, 2022, Kiln formed, Cold worked, 35/30/10
Hungary, Red Refract, 2022, Kiln formed, Cold worked, 35/30/10
Péter Gergely Lendvai
Péter Gergely Lendvai
Hungary, Bronze Moon, 2024, Blown glass, Hot sculpted, 29.5/ 14/8
Hungary, Bronze Moon, 2024, Blown glass, Hot sculpted, 29.5/ 14/8
Plamen Kondov
Plamen Kondov
Bulgaria, Monuments of the past, 2024, Kiln cast, Kiln formed, Cold worked, 45/37/8
Bulgaria, Monuments of the past, 2024, Kiln cast, Kiln formed, Cold worked, 45/37/8
Poonam Chatlani
Poonam Chatlani, Panama, Take me, 2022, Kiln Cast, 23/23/50
ARTWORK DESCRIPTION: ‘Take me is the journey we make in life and that of each one where there are dreams and experiences and where what we build forges our present and our future.’
Radu Popovici
Radu Popovici, Romania, Conserve, 2020, Assembled, Engraved, Dimensions 27/15/15
Rafael A. Zarazúa R.
Rafael A. Zarazúa R.
Guatemala, Golden Boy, 2021, Assembled, Blown Glass, Cold Worked, 32/23/19cm
Guatemala, Golden Boy, 2021, Assembled, Blown Glass, Cold Worked, 32/23/19cm
Raiza Carreño
Raiza Carreño, Venezuela, An angel in the dark, 2020, Stained Glass, 120/53/43
Randy Cann
Randy Cann,
United States of America
Mother Peacock, 2019
glass fusion and draping
United States of America
Mother Peacock, 2019
glass fusion and draping
Rebecca Arday
Rebecca Arday, USA
That Which Bends Can(not) Break, 2018
Lampworking
Dimensions: 1″/5″/5″
That Which Bends Can(not) Break, 2018
Lampworking
Dimensions: 1″/5″/5″
Renato Arnejcic
Renato Arnejčič, Slovenia, Family Matters, 2021, Kiln cast, Cold worked, Assembled, 14/32/32
Reshmi Dey
Reshmi Dey
India, Oinochoe – Triumph, 2023 , Mold blown, Hot sculpted, Hot worked, Lamp worked/ Flame worked Mixed technique, 61/41
India, Oinochoe – Triumph, 2023 , Mold blown, Hot sculpted, Hot worked, Lamp worked/ Flame worked Mixed technique, 61/41
Ricardo Hoineff
Ricardo Hoineff
Czech Republic/ Brazil, Autoportrait #1, 2024, Kiln formed, Mixed technique, 40/40/5
Czech Republic/ Brazil, Autoportrait #1, 2024, Kiln formed, Mixed technique, 40/40/5
Rinoi Imada
Rinoi Imada, Japan, Inadequacy I, 2022, Blown glass, Hot sculpted, 19/19/11.5
ARTWORK DESCRIPTION: ‘When I work as a female glass blower in a production with a man, I realize an irritation that is like thin glass needles poking my finger. The irritation comes from my bodily abilities, but also from a gaze that people think female glass blowers are incapable. Anxiety, inadequacy, and anger have become too common in my life. But, how should I treat this irritation?’
Rosario Mengual de la Peña
Rosario Mengual de la Peña, Mexico, Resilience, 2021, Fused, 30/8/35, ARTWORK DESCRIPTION: ‘Resilience is a tribute to all the women who throughout the history of humanity have tried to leave their mark and make a change in the world. Those golden traces, valuable despite all the ups and downs ….. What they had to overcome …’
Saara Sirkeoja
Saara Sirkeoja, Finland
Somnus, 2019
blown glass
Dimensions: 35/18/18
Somnus, 2019
blown glass
Dimensions: 35/18/18
Santa Bekmane
Santa Bekmane
Latvia, 21st century – In the power of technology, 2022, Kiln cast, Cold worked, Lost wax technique, 17/9/9
Latvia, 21st century – In the power of technology, 2022, Kiln cast, Cold worked, Lost wax technique, 17/9/9
Sayed Waked
Sayed Waked
Egypt, Supplication, 2024, Blown glass, Hot worked, Lamp worked/ Flame worked, 35/25/35/35
Egypt, Supplication, 2024, Blown glass, Hot worked, Lamp worked/ Flame worked, 35/25/35/35
Sayed Waked
Sayed Waked, Egypt, Mysticism, 2021, Hot sculpted, Flame Worked, Dimensions 20/20/65
Sayed Waked
Sayed Waked, Egypt
See through, 2017
Blown glass, lampworking
45/30/200cm
See through, 2017
Blown glass, lampworking
45/30/200cm
Serçin Mezhepoğlu
Serçin Mezhepoğlu
Turkey, New World Symbol, Version 2: The Compass of Wisdom, 2022, Glass Mosaic, 77/77/2
Turkey, New World Symbol, Version 2: The Compass of Wisdom, 2022, Glass Mosaic, 77/77/2
Sigrid Luitsalu
Sigrid Luitsalu
Estonia, Inner Patterns of Repetition, 2023, Pâte de verre, 25/27/20/27
Estonia, Inner Patterns of Repetition, 2023, Pâte de verre, 25/27/20/27
Silvia Zimerman
Silvia Zimerman, Israel
Freedom of Thought, 2017
kiln casting glass
Dimensions: 31/26/20
Freedom of Thought, 2017
kiln casting glass
Dimensions: 31/26/20
Silvina Valeria Valls
Silvina Valeria Valls
Argentina, Adrift, 2023, Pâte de verre, 22/15/12
Argentina, Adrift, 2023, Pâte de verre, 22/15/12
Sini Majuri
Sini Majuri, Finland
Mountain, Vuori, 2017
Mouth blown glass
Dimensions: 19/18/18
Mountain, Vuori, 2017
Mouth blown glass
Dimensions: 19/18/18
Slate Grove
Slate Grove, Finland, Louis Vuitton Designer Beliefs, 2018, Cold worked, Enameled, Fused, Kiln cast, Layered, 20/18/6cm, ARTWORK DESCRIPTION: Over the past 20 years, I have managed to develop an understanding of the material that allows for the glass making process to be a dialogue. The glass and I each have a voice in the process that, together, create a visible harmony in the final piece. I continue to strive for the ability to shape glass without applying extra force or adding unnecessary steps to the process. I choose the best glass forming process based on visual and conceptual intentions, and I have been known to utilize blowing, hot working, casting, and grinding when I find it beneficial.
I work with glass because it has a unique potential for artistic expression. Glass can be hard or soft, light or heavy, sharp or smooth, opaque or transparent, massive or delicate. Whether it is representational or abstract, it can transport the viewer to new places. Glass is a wonderful mixture of physics, chemistry, art, and craftsmanship and it possesses a power that is as close to alchemy as I will ever experience.
Sophie Longwill
Sophie Longwill, Ireland
Together II, 2018
pate de verre
Dimensions: 19/4/37
Together II, 2018
pate de verre
Dimensions: 19/4/37
Sophie Longwill
Sophie Longwilll, Ireland, Small Sky, 2019, Pâte De Verre, Slumped, Dimensions 9/19.5/15
Studio Penocze
Studio Penocze, Czech Republic
Democracy of Three
kiln casting glass, cold-worked
Dimensions: 5/50/100
Democracy of Three
kiln casting glass, cold-worked
Dimensions: 5/50/100
Susan Gott
Susan Gott, United States, Garden Sentinel, 2018, Sand cast, 94/22.8/17.8
ARTWORK DESCRIPTION: ‘My work embodies an interest in mythological imagery, symbolism, and philosophies from historic and ancient cultures. I find inspiration in symbols of ritual art, myths and how they connect us, most deeply, with our own nature and our place in today’s world. The resulting glass, with primitive qualities and metaphors, are a visual re—presentation of the cycles of life. The archetypal images that emerge explore spirituality, existence, humor, love, magic, dualities and the beauty of life. The human form is a vessel for my connection to Spirit. The elements of this ancient, visual language have become enmeshed in my thought and in my art as I create a new contemporary mythos in glass.’
Susan Madacsi
Susan Madacsi, United States, Bobtails, 2021, Fused, Kiln Cast, Mixed Technique, Dimensions 16/13/2
Svetlana Fedorova
Svetlana Fedorova, Russian Federation, Storm, 2020, Slumped, Dimensions 43/37/50
Taha Baydar
Taha Baydar, Turkey, To be born, 2022, Blown Glass, 51/24/10
Tai Xiao
Tai Xiao, China, Coral Reef Sea 7, 2021, Cold Worked, Fused, Kiln Cast, 27/35/14cm
Tai Xiao
Tai Xiao, China, Landscape Forming, 2018, Kiln casting glass, fused glass, 14/32/44cm
Tali Grinshpan
Tali Grinshpan, United States, Yearn, 2017, Pâte De Verre, Dimensions 18/10/15
Teresa Almeida
Teresa Almeida
Portugal, Ocean Topography, 2023, Kiln cast, 125/35/10
Portugal, Ocean Topography, 2023, Kiln cast, 125/35/10
Teresa Apud
Teresa Apud, Argentina, Beginning, 2021, Pâte De Verre, Dimensions 27/7
ARTWORK DESCRIPTION: ‘The work consists of three Angels: one rose, one yellow and the other purple, placed in a circle looking at different places outside it. Its wings are made of white glass with the technique of pâte de verre and the body in kiln casting in bullseye glass. This work represents the inerrant departure of a very special being for my whole family. Thus representing his love, kindness and joy. Flying, caring and helping everyone from their freedom.’
Teresa del Valle Apud
Teresa del Valle Apud, Argentina
Freedom, 2017
mixed technique
Dimensions: 24/18/21
Freedom, 2017
mixed technique
Dimensions: 24/18/21
Tereza Vukić
Tereza Vukić, Croatia, High Seas, 2020, Painted, hot worked, slumped, Dimensions 30/10
Tim Spurchise
Tim Spurchise, United States, Diving Fish, 2022, Blown Glass and Hot Sculpted, 10.1/17.7/43cm
ARTWORK DESCRIPTION: My main series of artwork is a visual cacophony of whimsical and eccentric sculpted glass sea monsters as a response to my research of the sea monsters found on medieval and Renaissance maps. Many of these sea monsters exist as a representation of the loss of potential discovery, while acting as a facetious metaphor for the unknown state of the future of our oceans. To medieval and Renaissance beholders, the sea monsters on European maps represented real, unknown, dangers. To modern eyes, however, they are whimsical adorning elements which leave us reminiscent of a time when these Shakespearean terrors were a frightful force to be reckoned with.
Tineke Meijer
Tineke Meijer, South Africa, Morphing 1, 2022, Fused, Glass with inclusions, Layered, Mixed technique, ⌀ 42/4.3
Tirza Verrips
Tirza Verrips, Netherlands, No title, 2022, Blown glass, 25 /60/50
Tirza Verrips
Tirza Verrips, Netherlands, Horn of abundance, 2020, Blown glass, Hot worked, 40/12/21
Tirza Verrips
Tirza Verrips, Netherlands, Stone shaped Unica, 2019, Blown Glass, Glass with Inclusions, Hot Sculpted, 35/25cm
Tuva Gonsholt
Tuva Gonsholt, Norway, Pinocchio, 2020, Blown glass, Cold worked, Sandblasted, Dimensions 18/10/6
Tuva Gonsholt
Tuva Gonsholt, Norway, Creature #pink, 2022, Blown glass, Cold worked, Sandblasted, 15/6/12cm, ARTWORK DESCRIPTION: Insects and other strange creatures inspire my work. I transform a specimen’s decoration, shape or colors into something of my own artistic expression.
Ulrike Umlauf-Orrom
Ulrike Umlauf-Orrom, Germany, Autumn, 2018, Cold worked, Enameled, Kiln formed, Fused, Layered, Sandblasted , Slumped, Polished, 47/47/5
‘I am inspired by textile art – weaving strings of colour and air into a multi-layered fabric of glass. Repetitive patterns and the application of coloured shapes draw the viewer´s attention into the depth of the glass. The apparently simple, reduced pieces are sculptural objects, they do not reveal the painstakingly complex process of their creation to a casual glance. A cloth of glass, a frozen textile – they are made for contemplation.’
Valerie Rey
Valerie Rey
Costa Rica/France, Together, 2023, Lamp worked/ Flame worked, Resin, gold, 50/33/24
Costa Rica/France, Together, 2023, Lamp worked/ Flame worked, Resin, gold, 50/33/24
Vera Golubeva
Vera Golubeva, Russian Federation, Passion, 2016, Cold Worked, Kiln Cast, 2 x 8.5/33/8cm
Vera Sadakova
Vera Sadakova, Russian Federation, Solicitude, 2019, Kiln Cast, 19/17/17cm
Veronika Mileva
Veronika Mileva
Bulgaria, Kiln Cats, 2021
Bulgaria, Kiln Cats, 2021
Vessy Gekova
VijayKumar Roy
VijayKumar Roy, India, Rejoicing the memories of my father, 2022, Lamp worked/Flame worked, 40.6/30.5/ 30.5;
ARTORK DESCRIPTION: ‘Two years ago, my father died because of COVID-19. He was a saint. He was my father as well as my best friend, he always stood by me. No matter what bad situation it was. I have had many ups and downs in my life, and he was a witness to it. I used to have bad down falls and I would fail so he would always push me by saying that a plant can grow by tearing a stone, so you are a
human, you can also do it. By remembering his words, I have made this artwork.’
Vladislava Tazetdinova
Vladislava Tazetdinova Russia, DriftLand Glass Wave, 2022, Lamp worked, 10/10/8cm, ARTWORK DESCRIPTION: DriftLand glass ocean is about the ballade of the sea and the wind, the breath of rain, the dance of snow, and the music of love and wandering. Most importantly, it encompasses dreams, adventures, and fairytales, woven into our lives. Reflecting the happiness of freedom and impermanence, these pieces of jewelry are like a crispy wind tangled in the hair, shimmering of the sunrise and enchanting sea songs, which echo in the heart with sparks of transparent-happy thoughts.
Wes Valdez
Wes Valdez, United States, Bowshock, 2018, Cold Worked, Kiln Cast, 35/25cm
Weston Lambert
United States, The Dance, 2020, Kiln cast, 10/10/30 cm
Yaron Meyer
Yaron Meyer, United Kingdom, Growth, 2021, Glass blown, Layered, Sandblasted, 70/80
Ye Lv
Ye Lv
China, Floating, 2023, Kiln cast, Cold worked, Glass with inclusions, Author’s technique, 41/13/4,5
China, Floating, 2023, Kiln cast, Cold worked, Glass with inclusions, Author’s technique, 41/13/4,5
Yordan Narliev
Yordan Narliev
Bulgaria, Aggression, 2024, kiln cast glass, cold worked, wood, 75/ 90/ 28
Bulgaria, Aggression, 2024, kiln cast glass, cold worked, wood, 75/ 90/ 28
Yordan Narliev
Yordan Narliev, Bulgaria, Wave, 2021, Fused Glass, Hand Formed, 42/28/25cm
Yordan Narliev
Yordan Narliev, Bulgaria
Plastic form, 2018
Cold-worked glass
Dimensions: 30/14/18
Plastic form, 2018
Cold-worked glass
Dimensions: 30/14/18
Yoshiko Okada
Yoshiko Okada, Japan, Harmony, 2022, Cold worked, Kiln cast, Sandblasted, 24/20.5/4.5cm,
ARTWORK DESCRIPTION: I like the stage of questioning myself and my ideas, and hence form, narrative, image, figuration, color and texture, spring from investigation into my culture of origin – my
childhood memories and experiences – together with that of my new cultural background and influences.
Yuki Kokai
Yuki Kokai
United Kingdom, Cocoon, 2023, Blown glass, Hot worked, Brass, 30/30/30
United Kingdom, Cocoon, 2023, Blown glass, Hot worked, Brass, 30/30/30
Özge Biçer
Özge Biçer, Turkey, Transformations, 2018, Cold worked, Kiln cast, Laminated, Lamp worked/Flame worked, 30/30/6cm
Adam Kruszyński
Adam Kruszyński, Poland, Touch, 2005
blown glass, cold-worked, Dimensions: 13/13,5/30
Adam Norman Jenkins
Adam Norman Jenkins, Australia, The Fall Of Eve, 2019
Kiln casting glass, 50/25/20
Adam Norman Jenkins
Adam Norman Jenkins
Australia, Portrait of Stefani Joanne Angelina Germanotta, 2024, Kiln cast, 25cm/22cm/16cm
Ake Rawdmek
Ake Rawdmek, Thailand, The uncertainty 2, 2019, Blown Glass, Dimensions 36/30/30
Albena Dimitrova
Albena Dimitrova
Juha’s dream, 2015
Сънят на Юха
Fused glass, slumping
Dimensions: 32/32
Albena Dimitrova
Bulgaria, Meditation, 2020, Fused, 60/0.5/40
Alejandra Toribio
Alejandra Toribio, Argentina
no title, 2013
Fused glass, slumping, float glass, sand blasted glass
Dimensions: 18/14/7
Aleksandar M. Lukić
Aleksandar M. Lukić, Serbia, Holy River Drina 02, 2022, Fused glass, Dimensions 64/21/9
Alexandra Moshenek Bolaños
Alexandra Moshenek Bolaños
Ecuador, Overthinker, 2024, Mold blown glass, Multimedia projection, water serum, ceramics, 13/43/34/43
Alina-Madalina Panturu
Alina-Madalina Panturu, Romania, Wrinkled Shirts, 2021, Fused Glass, Dimensions: 60/2/70
Alli Hoag
Alli Hoag
United States, Dreamscapes from the Underground II, 2023, Blown glass, Kiln formed, Stained glass, Engraved, copper, mixed media, 35/66/18
Ana Laura Quintana
Ana Laura Quintana, Argentina
Nature Cups, 2019
pate de verre
Dimensions: 11,5/40/19
Ana Maria Caldaruse
Ana Maria Caldaruse
Romania, Pollen, 2024, Painted, Engraved glass, wood, plants, 10/15/2
Ana Quiroz
Ana Quiroz, Mexico, New Relic, 2020, Assembled glass, Dimensions 28/27/13
Ana Viñuela
Ana Viñuela, Spain, Of land to sea, 2020, Pâte De Verre, 2 x 30/30/1
'Of land to sea aims to represent the beauty of two antagonistic but at the same time complementary elements, such as the sea and the land. He is represented in this sculpture, which shows how the experience of both changes, by the colors that vary according to the perspective and by external conditions such as light, which constantly affect them.'
Anastasiya Tonkova
Anastasiya Tonkova, Bulgaria, Scar I & II, 2017, Fused, Mixed technique, 35/30/2
Andra Jõgis
Andra Jõgis, Estonia
Letters from home, 2016
Print on glass, cold-worked, layered glass
Dimensions: 17,6/25/1,5
Andra Jõgis
Andra Jõgis, Estonia
Dendro, 2019
blown glass
Dimensions: 50/50/120
Andrea da Ponte
Andrea da Ponte, Argentina
Globalized, 2015
Blown glass, image transfer
Dimensions: 36/36/36
Andrea da Ponte
Andrea da Ponte, Argentina, Globalized 2.8, 2018, Blown Glass, ø27cm
ARTIST INFO: Born in Avellaneda, where I still live and work.
I am passionate about teaching and I share my knowledge with my students from Argentina and from around the world creating new spaces of communication and experimentation of the recently developed methods.
I use the physical characteristics of glass to talk about a timeless world of constant movement and relate it to an iron containment. Two opposite materials on both transparency and fragility. I think the narrative of my pieces expresses different kinds of lectures, it leaves a part open for interpretation of the viewer.
Andrea da Ponte
Andrea da Ponte, Argentina
Swallowing words, 2018
kiln casting glass
Dimensions: 24/8
Anita Darabos
Anita Darabos, Hungary, Fragment, 2020, Cold Worked, Fused, Layered, Mixed Technique, Sandblasted, 24/74/11
Anjali Venkat
Anjali Venkat, Singapore, Tide Pool, 2021, Assembled, Cold Worked, Enameled, Fused, Lamp Worked, Layered, Painted, Slumped, Dimensions: 10/45/45
Anjali Venkat
Anjali Venkat, Singapore
Altereal- Emerge, 2018
pate de verre, fused glass, slumping, float glass, mixed technique, layered glass, other
Dimensions: 14/4
Ann Ruth Facktorovich
Ann Ruth Facktorovich
Israel, "Lost connection", “Attempts to restore connection” series, 2024, Blown glass, Readymade, 20/20/90/20
Anton Vrlić
Anton Vrlić, Croatia
Comet, 2016
Komet
Cut, polished and laminated optic glass
Dimensions: 15/13/8
Aoife Soden
Aoife Soden, Ireland
A Test of Buoyancy, 2018
blown glass, mixed technique, other
Dimensions: 19/19/15
Armando Granja
Armando Granja, Panama, At sunrise, 2021, Kiln cast, 13/13/36
Armel Desrues
Armel Desrues
France, Obsidian, 2016, Glass blowing and glass cutting, 58/13/13 cm
Arthur – heArthur – van Buuren
Arthur – heArthur – van Buuren, Netherlands, You are up in the air, 2022, Fused glass, 24/15/13.5
ARTWORK DESCRIPTION: 'This formidable sculpture is made in a mix of red, pinks and blue. The
light circle seems to fly! It is only fused to the dark inky blue
quarters of circle.'
Arūnas Aleksandras Daugėla
Arūnas Aleksandras Daugėla, Lithuania, Ocullists, 2018, Blown Glass, Cold Worked, Hot Sculpted, Dimensions: 40/10/15
Audronė Andrulevičienė
Audronė Andrulevičienė
Lithuania, Reflections on Life's Transience, 2024, kiln cast, lost wax casting, cold worked, 9/20/6
Balazs Telegdi
Balazs Telegdi
Hungary, Protected IV., 2023, Blown glass, Author's technique, 30/18/18/18
Barbara Proverbio
Barbara Proverbio
Italy, Allamanda, 2022, Blown glass, 33/22
Bernadette Neven
Bernadette Neven, Belgium, Dead Nature, 2021, Pâte de verre, Kiln casting, Screen printing, Dimensions 50/50/50
Birgit Köblitz
Birgit Köblitz, Hungary, Princess, 2021, Kiln formed, bended, 37/35/11cm, ARTWORK DESCRIPION: The object is based on the fairy tale of the frog prince, only here the roles have been reversed: The princess is waiting for the kiss. It makes us wonder who we really are, and whether captive or sheltered. Under the arches protected, above the arches floating. In front of the gates, waiting ...on waving ground ... on winding roads ... - the world is colorful and sometimes the gray shades are fetching. This is a well-known, recurring story that still hides so many interesting discoveries.
ARTIST INFO: Glass defines my everyday life, influences the way I see things and urges me to change, and I am interested in these special moments and changes. I would like to grab them as they rhytmically meander into each other and to share these experiences with others so they can feel them too.
I am interested mainly in the transparency of glass, as its unstoppable strength is woken up by the colours that run through it. I like the dialogue with the material as its condition, its surface and transparency changes when it warms up and then it returns, freezes into a picture full of the experiences of all the changes it went through. For this I find decorative elements, drawings and figures and then place them into exciting compositions.
In my latest creations I playfully combine different techniques with which I reach new forms of expressions, although the arch motif is an always returning metaphor.
Under the arches protected, above the arches floating. In front of the gates, waiting ...on waving ground ... on winding roads ... - the world is colorful and sometimes the gray shades are fetching. This is a well-known, recurring story that still hides so many interesting discoveries.
Creating glass sculptures and architectural glass are both close to my heart The usage of coloured glass in architecture is a very responsible task because it influences our soul directly. The given space and its air are always inspiring, they are my source of creativity. It is an important aim for my glassworks that are made for communal places, to remain modern. It has to reflect the personality of the glass artist not only technically but in its form as well because it is the only way for it to become an integral part of the architecture withstanding the passage of time.
Carlos Sánchez
Carlos Sánchez, Mexico, Ethereal souls, 2022, Kiln formed, 45/30/10
Carol Neumann
Carol Neumann
Mexico, GENESIS, 2024, Kiln cast, Lost wax casting,Tiffany, copper, 45/50/34
Carolin Zibulka
Carolin Zibulka
Germany, Azure, 2024, Layered, Mixed technique, Pigments, Acrylic, 50/40/0.4
Caterina Zucchi
Caterina Zucchi, Italy
Light and Shadow,
Blown glass, sand blasted glass, mixed technique, 30/30/6cm
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
What I’ve found in glass and the glass blowing technique is the ideal and proper means to push this personal research forward.
My artistic path concerns the attempt to let Murano glass jewels which are tied to the thousand-year-old history of decoration since forever, to have a new contemporaneity.
My interest in glass art started in 2000 and had consistently brought me on as a student at the Vetroricerca Glas & Modern Institute of Bolzano and the Abate Zanetti School of Glass of Murano where I spent one year as assistant graffer in a master glassworker atelier, until 2004, when I opened my studio in Leghorn. In May 2015, the Tuscan Region conferred me the title of Master Artisan.
Studiozero vetro is the laboratory where I design and create Murano glass jewels, either blown or not, which are entirely handmade.
Among the numerous glass-working techniques, I’ve chosen the blowpipe technique because it’s based upon instant actions, and it requires precision and ability of gestures that make the glass even more versatile. This method allows improvisation to have much larger edges so I can better express my creativity.
Creativity is an urgency, a spontaneous gesture, a moment, a mood. I’m not in search of the perfect glass bead, but of an object that is in harmony with the environment surrounding it, coherent and close to my creative impulse.
Caterina Zucchi
Caterina Zucchi, Italy, „Monster“ necklace, 2022, Engraved, Lamp worked/Flame worked, Mixed technique, 60/30/10cm,
ARTWORK DESCRIPTION: I wanted to do something unpleasant.
Intrusive, overbearing and annoying. Aggressive and somewhat arrogant.
I didn't want to achieve harmony and balance. I thought of starting from a reverse thought to create something monstrous, a frightening opprobrium. Perhaps, I should have tried harder to achieve a worse result than this.
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
What I’ve found in glass and the glass blowing technique is the ideal and proper means to push this personal research forward.
My artistic path concerns the attempt to let Murano glass jewels which are tied to the thousand-year-old history of decoration since forever, to have a new contemporaneity.
My interest in glass art started in 2000 and had consistently brought me on as a student at the Vetroricerca Glas & Modern Institute of Bolzano and the Abate Zanetti School of Glass of Murano where I spent one year as assistant graffer in a master glassworker atelier, until 2004, when I opened my studio in Leghorn. In May 2015, the Tuscan Region conferred me the title of Master Artisan.
Studiozero vetro is the laboratory where I design and create Murano glass jewels, either blown or not, which are entirely handmade.
Among the numerous glass-working techniques, I’ve chosen the blowpipe technique because it’s based upon instant actions, and it requires precision and ability of gestures that make the glass even more versatile. This method allows improvisation to have much larger edges so I can better express my creativity.
Creativity is an urgency, a spontaneous gesture, a moment, a mood. I’m not in search of the perfect glass bead, but of an object that is in harmony with the environment surrounding it, coherent and close to my creative impulse.
Cathryn Shilling
Cathryn Shilling, United Kingdom, Consonance Diptych, 2019, Kiln Formed Glass, Fused, Slumped, Dimensions: 45/85/18
Cedric Ginart & Karina Guévin
Cedric Ginart & Karina Guévin, Canada, The goose and the golden egg, 2021, Lamp worked/Flame worked, 44/16/16
ARTWORK DESCRIPTION: 'This work is sometimes inspired by the wonderful world of classical literature and folk tales, our adventures around the world or by an old alchemy book that makes us dream. This work evolves and changes with the experiences and challenges we face along the way.'
Chad Holliday
Chad Holliday, United States, Buttress Sprocket, 2015, Mold melted, cut and polished, color shifting light reactive glass, 38/36/8cm, ARTWORK DESCRIPTION: “Buttress Sprocket” is a new exciting direction for my work. I have been very interested in incorporation the circular with the buttress. Here they offer a supporting opposition to the sprocket or gear side. All of these elements show the energy that cast glass can embody.
ARTIST'S STATEMENT: ESSENCE FROM THE PRIMORDIAL
The foundation of my work lies within the understanding of primordial forms and their purpose throughout history. These are forms that are repeated throughout history by different, and separate cultures for a similar purpose. Using this as the initial basis for my research, I have then linked this to the aesthetics found in Czech glass, starting with Professor Stanislav Libensky and Jaroslava Brychtova, and the ideas that are found in Cubism and Constructivism. I utilize the scientific method when approaching my research. I believe that artists and scientists are inherently linked. This foundation allows me to draw from a multitude of resources in art history, psychology, and physics while considering my primary philosophy. As my work has developed, I’ve utilized a repeating dialogue incorporating space and time, using visual elements that are inherent in solid cast glass. The primary, defining element of sculpture is time. Time is seen as the “fourth dimension.” Time is a very significant asset for this discussion as it is for many contemporary sculptors.
The interior space in my work is its final defining element. I term this as the “fifth dimension.” In this aspect light becomes a linking factor between these two dimensions. By thinking of light as an element of construction, the light allows me to conduct the viewer, as well as the space within the object and eventually the space around the object. Light is essentially the defining and primary factor in cast glass and what links the latter.
By bringing these elements together with the intuition gained with experience, I have found ways of creating new space by multiplying the visual space. This is the most significant attribute unique to glass. This is achieved by an extensive knowledge of the casting process and refining or cold working, of the material as well. Just as my philosophical foundation relates to the Czech Aesthetic, so is my expertise in the refining or “cold working” of the material.
All of these elements together become extremely significant in my research. They do not operate independently. Rather they work cooperatively and cannot exist without the other. As a sculptor working in glass, it is my charge to understand and harness these properties to enable the work to be conceived. With this in mind, consider the idea of “Imagineering.” Due to the nature of the material I must have an awareness and intuition that allows for the manipulation of light, which in turn constitutes a multiplication of space.
Cheryl Edwards
Cheryl Edwards, Australia, Ash, Sinuous Series, 2022, Kiln formed, Fused, Hot worked, Sandblasted, 15/17.5/36cm,
ARWORK DESCRIPTION: Cheryl is interested in the infinite
possibilities of structure, pattern and color. Places play a big part in her inspiration and she sees pattern everywhere, both natural or human made. Building various patterned layers and constructing forms
within the boundaries of chance and intent she finds glass to be the perfect medium to explore this.
The majority of Cheryl's work is made with Murrini a technique made in the hot shop. The Murrini glass is the first part of a multi step process to create her vessels. Sheet glass is sandwiched together and
heated then stretched, the process is repeated to miniaturize the pattern. Then the glass is cut into small tiles and fused together in a kiln. She then uses those pieces to form her art.
Cheryl Wilson Smith
Cheryl Wilson Smith
Canada, Cherished: Memories, 2024, Kiln cast, Kiln formed, Pâte de verre, Screen printing, 20/20/23/20
Chiara Bettoncelli
Chiara Bettoncelli, Italy, Water, 2015, Acid etching, Cold worked, 45/6/1
ARTWORK DESCRIPTION: 'Acqua is a contemporary jewel handmade in Murano glass and organza; a versatile ornamental element, a belt-necklace for women with a minimal aesthetic, which goes particularly well with dresses with silk and crepe satin details. (…) To evoke the watery element, the material has been kept in its original texture in a hand-pulled slab: each piece is, in its simplicity, unique, as one differs from the other precisely due to the particular veins of the
surface.'
Christine Vanoppen
Christine Vanoppen, Belgium, Out of Line, 2022, Flame Worked, 50/45/18
ARTWORK DESCRIPTION: 'I create works that speaks of both the complexity of life and the woven and coiled aspects of the cocoon. Very graphic sets are reminiscent of drawing in space. Through a play of shadows, light and transparency, I invite the viewer to contemplate the fragility of life, the strangeness of dreams between illusion and reality.'
Clara Rivault
Clara Rivault
France, XVOTO 2, 2025, fused glass, wool, 60/60/12
Claudia Henao
Claudia Henao, United States, Sacred Letter, 2020, Pâte De Verre, 14/6/5
Claudia Virginia Vitari
Claudia Virginia Vitari, Italy, Interstitial Identities, Umaru, 2022, Silkscreen on glass, layered, fused, rolled-up and coldworked, D 15-16
ARTWORK DESCRITION: 'The cycle “Umaru” does not explore the in-between spaces inhabited by a whole group at risk of exclusion (as was the case in my previous work) but is focusing on the personal story of a single individual. Umaru is originally from Guinea-Bissau and in 2022 he was able to return to his home country for the first time to visit his family after waiting for 15 years for the appropriate documents. The three silkscreened and rolled-up glass spheres, exhibited in dialogue to each other, are a study for an installation based on texts written by Umaru himself and countless dialogues which took place in my studio during the pandemic captured on portraits.'
Cristina Migliorini
Cristina Migliorini, Argentina
Aquarius, 2019
pate de verre
Dimensions: 12/6/4
Cristinа Ilinca
Cristina Ilinca, Romania, Woman (5), 2021, Blown glass, 40/12.5/15cm, ARWORK DESCRIPTION: My artist mission is to reflect into my work the miracle of life, to mirror as well as I can the fascinating diversity of life. Woman series is part of a larger cycle in my body of works called Miracle of Life. I think that glass, as a fragile, still robust material, with its unique qualities, is suitable for representing life. They both share fragility, delicacy and yet an incredible strength. The degrees of transparency one can obtain from glass are both marvelous metaphors and good enough physical representations for the mysterious processes of life creation.
Csilla Szilágyi
Csilla Szilágyi
Hungary, TRANSFUSE XVII., 2024, Kiln formed, Sandblasted, Layered, Mixed technique, Concrete, 46/46/10
Cаren Perera
Cаren Perera
Uruguay, Sound in silence, 2024, Pâte de verre, Digital printing, Glass-clay, optul, float and gold sheet, 32/19/53/30
Dainis Gudovskis
Dainis Gudovskis
Latvia, Connection 2, 2020, Assembled, Blown glass, 44/42/22
Dainis Gudovskis
Dainis Gudovskis, Latvia
Remotely Happy, 2016,
Blown glass, 34/40/26cm
Dalia Doron
Dalia Doron, Israel, The deadly voyage towards freedom, 2022, Fused, Pâte De Verre, 24/12/6
ARTWORK DESCRIPTION: 'This boat flotilla was created in memory of the immigrants who are trying to change their lives for the better and survive for a better future. The flotilla will include 34 boats, memorialising and honouring all those who drowned in that dilapidated boat in the English Channel, as well as all those who have lost their lives attempting to seek asylum. Then “What is the Measure of Man?” The thinness of the boats symbolizes the fragility of life. The colours I chose are white, red, and black, with a hint of blue. White or transparent glass symbolizes the transparency of the people, while red and black symbolize life and death, blood and mourning. The hint of blue represents the sea. Twisted ropes of red will also be attached as an ambiguous symbol of life and death.'
Dalia Doron
Dalia Doron
Israel, Whirlwind of Thought, 2023, Kiln formed, 35/45/2
Dan Mirer
Dan Mirer
USA, Bubble Orb, 2011
Blown glass, hot worked, sandblasted, 10/13/13
Dan Popovici
Dan Popovici
Romania, Suction Cup, 2021, Engraved, Fused Glass, Dimensions 7/7/17
David Schnuckel
David Schnuckel, United States
Cartograph, 2017
blown glass, fused glass, free fall, other
Dimensions: 50/50/5
Demetra theofanous/Dean Bensen
Demetra Theofanous/Dean Bensen, United States, Beneath your feet, 2019, Pâte De Verre, Sandblasted, Dimensions 6/34/44
Derya Geylani Vurusan
Derya Geylani Vurusan, Turkey, White Night ( “Moment” series), 2021, Flame worked, Mixed technique, Dimensions 30/35/20
Desiree Sessegolo
Désirée Sessegolo, Brazil, Voids, 2020, Mixed Technique, Dimensions 3/31/31
Desiree Sessegolo
Desiree Sessegolo, Brazil
AMAZON, 2018
fused glass, mixed technique
Dimensions: 200/400/20
Dimitra Yonkova
Dimitra Yonkova, Bulgaria
Sunrise, 2016,
Fused glass
Dimensions: 45/45
Dominique Jurić
Dominique Jurić, Croatia, Rising, 2021, Mixed Technique, Dimensions 30/30/30
Dongmin Lee
Dongmin Lee
Germany/ South Korea, Kingfisher, 2024, Blown glass, Sandblasted, Cold worked, Engraved, 30/15/10/15
Eda Ilbeyci
Eda Ilbeyci, Turkey
Existence, 2019
kiln casting glass, molded
Dimensions: 28/15/10
Elena Shushlyakova
Elena Shushlyakova, Russian Federation
Day before spring, 2018
kiln casting glass, mixed technique, other
Dimensions: 500/200/350
Elenora Koh
Elenora Koh
Singapore, No Thing, 2020
Eliana Della Flora
Eliana Della Flora
Australia, After the Fires, 2022, Kiln cast, Glass with inclusions, Author's technique, copper , 4.5/25/4,5
Elina Bilous
Elina Bilous, Ukraine
The memory of earth, 2015-2017
Пам'ять землі
Fusing, Metallization
Dimensions: 35/35/3
Elke Mank
Elke Mank, Germany, Bombing Sofia 1944; What Remains? 1944, 2022, Painted glass, fused, 2 x 30/30/0.6
ARTWORK DESCRIPTION: 'Time and again wars are fought and the result is always destruction, misery, hopelessness and death. The price of war is paid by soldiers and the population of all countries involved. In times of globalization, the whole world suffers from the striving for power of individuals. The partly transparent pictures, which are almost only possible with glass, allow a different view of the war. Then only when we see the hopelessness and need clearly can we understand, help and learn from the mistakes.'
Elmira Belova
Elmira Belova, Russian Federation, The balance, 2016, Blown Glass, Cold Worked, Dimensions 50/10/13
Eunkyong Lee
Eunkyong Lee, Republic of Korea, The melody in the landscape, 2020, Cold worked, Fused, Kiln Cast, Dimensions 24/40/3
Eunkyoung Lee
Eunkyoung Lее, Republic of Korea, Overlapping Sequence, 2022, Cold worked, Kiln formed, Fused, 31/57/53
Eunkyoung Lee
Eunkyoung Lee
South Korea, Untitled, 2022, Kiln cast, Kiln formed, Cold worked, 26/30/7
Evgenia Lukianova
Evgenia Lukianova, Russian Federation, Regatta, 2020, Cold Worked, Dimensions 150/57/75
Fatma Ciftci
Fatma Ciftci, Turkey
Leave! 2017
Git!
Kiln casting, cold-working, sanding
Dimensions: 5/24/30
Gayle Buzzi
Gayle Buzzi, Canada
The Coons, 2019
pate de verre
Dimensions: 12/30/12
Giovanni Paseri
Giovanni Paseri
Venezuela, Linear Optic, 2022, Kiln formed, Optical glass, metal, nylon, 25/25/8
Giovanni Paseri
Giovanni Paseri, Venezuela, Optical Helicoid, 2022, Fused glass, assembled, 20/20/130
ARTWORK DESCRIPTION: '“Optical Helicoid” is a installation conceived as a three-dimensional structure made up of tetrahedrons with glassy edges, which rotate in a helical mode. The geometry of this work generates a rigid and at the same time flexible volumetry, between material (glass) and space (empty), contrasting with the fragility of glass and the structural strength of a 3D truss, antagonistic concepts within the same object.” In some of the triangular faces, optical pieces are inserted that seem to float along the structure and also outside it when illuminated, projecting onto the surrounding planes, making a light play of reflection and refraction.'
Grisel Pereyra
Grisel Pereyra, Uruguay, Memories in the bubble, 2021, Mixed Technique, Dimensions 40/40
Guillaume Roux
Guillaume Roux
France, Sea shell, 2023, Blown glass, 40/12/12
Guillermo Silpituca & Diana Pries dos Santos
Guillermo Silpituca & Diana Pries dos Santos
Argentina
The printed pineapple, 2019
kiln casting glass, pate de verre
Dimensions: 27/35/24
Han de Kluijver
Han de Kluijver, Netherlands, Anchored movement, 2019, Kiln cast glass, 140/40/25
Hazer Coşgun Kırkpınar
Hazer Coşgun Kırkpınar
Turkey, Luwian God of Sun, 2024, Blown glass, Kiln cast, brass, lead, 40/40/5/40
Herbert Monsieur
Herbert Monsieur, Belgium, Impression of a sunset, 2020, Assembled, Cold worked, Stained glass, Mixed Technique, Dimensions 40/30/30
Ian Shishido
Ian Shishido
United States, Isolation, 2022, Kiln cast, Lost wax technique, 49/33/7/33
Ingrid Válint
Ingrid Válint
Hungary, The power of nature, 2022, Blown glass, Hot worked, 21/20/24
Inguna Audere
Inguna Audere, Latvia, Mitten of My Past, 2022, Кiln cast, cold worked, painted, 60/11/13
ARTWORK DESCRIPTION: 'Rooted in Latvian mythology and traditions every mitten has a story. Every pattern has meaning bringing with it a special wish represented by symbols found in the pattern. This mitten’s shape taken from my hand reflects personal ethnography where chosen symbols from everyday life are embedded in the work. These symbolic objects, my mother-in-law’s jade beads, a poppy head, and clock pointer, together create a narrative or a form of visual poetry.'
Inita Emane
Inita Emane, Latvia, Horizon line, 2022, Assembled, Cold worked, Kiln formed, Fused, Mixed technique, 21/39/26
ARTWORK DESCRIPTION: Man lives in harmony with nature, its resources. The aggressive and irresponsible activity of the industry poses a threat of disaster to our Baltic Sea. The pollution is faster than the plans to save the existing ecological environment of the Baltic Sea. Horizon line- gives feelings of infinite peace to emotions and joy of life. How to protect it?
Ioana Stelea
Ioana Stelea, Romania, Notes, 2021, Blown Glass, Cold Worked, Engraved, Dimensions 70/60/20
Iva Kolorenčová
Iva Kolorenčová
Czech Republic, Nad Nisou, 2018, float glass, painted glass, mixed technique, 240/320/70mm(5x)
Iva Kolorenčová
Iva Kolorenčová, Czech Republic
Above Elbe, 2008
Nad Labem
Painting on glass
Dimensions: 6x25/35
Ivaylo Nenov
Ivaylo Nenov
Bulgaria, Bagpipes, 51/ 24/109
Izabela Carlucci
Izabela Carlucci
United States, Saint Lucy, 2024, Stained glass, copper, lead, 38/31/1
Jacob Willcox
Jacob Willcox, USA
Conversation, 2018
Jaime Graschinsky
Jaime Graschinsky
Argentina, Woman with Light, 2018, kiln casting glass, 22/15/15
Jainer Leon
Jainer Leon
Colombia, Chair of Time, 2022, Kiln formed, float glass, 20/20/15
Jakub Sojka
Jakub Sojka
Slovakia, Circulation, 2023, Kiln cast, Sand cast, Sandblasted, Cold worked, Optical glass, 15/35/35/35
Jan Hooghiemstra
Jan Hooghiemstra, Netherlands, Journey, 2020, Sand Cast, 42/62/11cm
Jan Hooghiemstra
Jan Hooghiemstra, Netherlands, Carry on, 2021, Sand cast, 10/22/22cm
Jasminka Begić
Jasminka Begić, Croatia, Turn on the light when I'm gone, 2021, Fused, 35/45/8
Jean Thebault
Jean Thebault, France, Lava Flow, 2020, Blown Glass, Cold Worked, Dimensions 40/27/12
Jean-Philippe Paumier
Jean-Philippe Paumier, Netherlands, Eternal Spring, 2020, Hot worked, Mixed Technique, Dimensions 48/16/6
Jelena Popadic
Jelena Popadic, Netherlands, Byzantium Blue, 2022, Blown glass, Sandblasted, 18/21/2cm, ARTWORK DESCRIPTION: Tara throne is a unique glass sculpture dedicated to my daughter Tara and spiritual connect that we had when she was growing in my belly. I often heard her singing and this peace is a visualisation of my daughter songs songs and stories recorded in "Acasha lybrari"
I graduated in the glass department in 1991 at the G. Rietveld academy in Amsterdam and last 31 years I am working as an independent artist, designer and lecturer.
ARTIST'S INFO: Jelena Popadic (1964, Yugoslavia) studied Civil Engineering in her native country and then went on to study art and graduate with a BA in Art & Design from the Rietveld Academy in Amsterdam. Since her graduation she works as an independent glass artist and teacher but she also has been active in the field of painting, music and cinema.
Her objects are usually made of blown glass, mainly sphere, cylinder or cone shaped and often color underlayed. Signature cold working techniques are cutting and above all deep sandblasting, creating deep almost surreal indents in the objects' surfaces. The symmetrical patterns she creates refer to cell structures, crystals, molecules and atoms. She transforms glass into subdued objects which become very different in their outward appearance.
One of the most prestigious works Jelena Popadic has made is the traditional "Oranje Vaas" on the occasion of the 25th anniversary of Queen Beatrix as monarch of The Netherlands. Her work is part of many private and public collections, including the Dutch National Glass Museum and the acclaimed Ernsting Stiftung Glasmuseum in Germany.
Jianyong Guo
Jianyong Guo, China, Brilliant life, 2021, Assembled, Cold worked, Engraved, Kiln cast, Mixed technique, Painted, 61/75/25cm
Jiemin Park
Jiemin Park
South Korea, Dal Hangari 302, 2024, Blown glass, Kiln formed, Glass with inclusions, 17/16/16
Jietong Xu
Jietong Xu
China, United Kingdom, Interwoven Will 1&2, 2024, Lamp worked/ Flame worked, 19/22/14
Joaquim Falcó and Meritxell Tembleque
Joaquim Falcó and Meritxell Tembleque, Spain, All fires, 2021, Cold Worked, Fused, Layered, Dimensions 70/45/37
Jonas Noël Niedermann
Jonas Noël Niedermann, Switzerland
Floating Lines, 2018
blown glass, sand blasted glass, cold-worked, 20/28/28cm, ARTWORK DESCRIPTION: The work represents my fascination for glass: its transparency, multiple layers - and therefore - its illusionary. White and black lines are flowing in the transparent glass imitating smoke lines in the air. This self invented technique working with folding coloured lines in transparent hot and glowing glass, allows to work on multiple layers. The strings/pattern is not as usual on one layer between the glass but moves up and down in all glass layers. Not knowing where the start and the end of the string is - similar to such on a DNA string – the pieces have unique details. The surface of intertwined strings are in a high contrast to the monochrome inside, and because of its complicated technique they will never meet. Transparent glass is always in between in order to let the strings float up and down in the material. A new and unique approach letting the lines flow not only in one of the consecutive layers but exploring different depths of the glass. This technique is a result of working experiences as a glassblower made during my 36 months of glass journey in Murano | Italy, Denmark, Austria, Germany, Sweden, and the USA.
ARTIST'S INFO: Jonas Noël Niedermann attributes his precise eye for shapes and dimensions to the mighty Swiss mountain ranges he grew up in. Working with those who devoted their entire lives to glass art, he developed a unique appreciation for the intricacies of glass, studying everything from the big picture to the smallest details. As a result he has an artistic voice that is strongly individual while echoing the works of historical greats.
Josipa Baljak
Josipa Baljak, Croatia, Brass line, 2021, Cold Worked, Fused, Mixed Technique, Dimensions 30/30/70
Josipa Baljak
Josipa Baljak, Croatia
The relationship of blue, 2019, Kiln casting glass, cold-worked, Dimensions: 35/35/35
Julia Ciułek
Julia Ciułek
Poland, You are so special, 2024, Blown glass, Kiln formed, 35/40/55
Julia Kastler
Julia Kastler, Austria, Heart Space, 2020, Painted, Stained glass, Dimensions 61,4/45/4
Julia Kruteeva
Julia Kruteeva, Russian Federation, The soul of botanist departing to his paradise, The soul of botanist departing to his paradise, 2019, 71x40
Julia Rokina
Julia Rokina, Russian Federation, Illusion, 2015, Cold Worked, Fused, Glass with inclusions, Dimensions 18/13/10
Julia Rokina
Russian Federation, Oreada, 2013, Cold worked 30/15
Justyna Żak
Justyna Żak, Poland, Wild Hive, 2022, Blown glass, Cold worked, Mold blown, 3 х 20/12, ARTWORK DESCRIPTION: 'The series of objects entitled Wild Hive with their structure refer to the forms and structures of natural, organic creations built on the branches and the interiors of trees by forest
bees. Glass, especially this formed by means of hot shop techniques, has many features that can be easily assigned to the natural world. I have always associated a gather of glass taken from a furnace and wound up on the blowpipe with honey. The colour, light reflection,
optics and the relationship of these two materials seem very close. The similarity can be noticed not only in visual aspects, but also in the production process itself, in which harmonization, a vision of a common goal and the ability to work in a group are the fundamental features. In the case of bees, this will be the time of collecting and storing nectar. During the execution of a glass object, this is due to involvement and coordination of the team. However, it all comes down to a situation in which we become ‘consciously present’. We are not
separate individuals existing in a vacuum. We are all part of a larger
whole, as Nature in a simple way constantly reminds us.'
Kanako Togawa
Kanako Togawa
Japan, Accumulation of Moments, 2024, Cold worked, Painted, 70/10/11
Karen Browning
Karen Browning
United Kingdom, Miss. Spent-Youth, 2024, Kiln cast, Lost wax technique, Gilded, Author's technique, 22/12/10/34
Karen Browning & Jon Lewis
Karen Browning & Jon Lewis
United Kingdom, Core 003, 2024, Kiln cast, Cold worked, metal, 20/8/8
Karen Nyholm
Karen Nyholm, Denmark, Flourish, 2020, Hot sculpted, glass with inclusions, 93/33/22cm, ARTWORK DESCRIPTION: I strive to be excellent at my craft. This skill set opens up possibilities for making work of high quality. At the same time it can be a limitation for expression. Sometimes it is necessary for me to take a step back and observe the habits and the paths that I have trod so many times before. And the result can be that I fall in love with the material anew. My work often concerns the body and various emotions relating to different parts of the body. All my life I have been creating things with my hands. My hands perform a kind of communication, sometimes with me as a puzzled spectator. My sources of inspiration are dynamic and constantly moving. Transience and our interaction with nature are important issues in my works. In addition to glassblowing, I use techniques from other disciplines such as silversmithing, oilpainting, ink, beadmaking and ceramics. This cross-over is very stimulating and opens up new ideas and possibilities for my artistic expression.
Katherine Southam
Katherine Southam, Canada
Journey, 2019
kiln casting glass, glass with inclusions, other
Dimensions: 13/6/32
Keith Dymond
Keith Dymond
United Kingdom, Shattered, 2024, Kiln formed, Author's technique, 26/26/9.5
Kim Gromoll
Kim Gromoll, Netherlands, Cocoon, 2020, Lamp worked/Flame worked, Mixed technique, dimensions variable (1 - 10 cm)
ARTWORK DESCRIPTION: 'Within cocoon a selection is shown of an ongoing process in which deceased insects are gathered throughout daily life. A fragile husk is all that remains from many of these creatures, yet upon closer inspection immense beauty may be found in their transient physical presence. Through adopting the insects into this colony of unseen passing, a new stage in the post-lifecycle is set in motion. Encased in a thin and vulnerable glass cocoon, they are offered temporary protection & preservation from outside influences, human or natural alike. The glass cocoon as an intervention allows for the short life of each of these individuals to resonate beyond their own time. An opportunity for us to take a more attentive look at these tiny beings which account for the majority of life on the planet.'
Kim Logue
Kim Logue, New Zealand
Melts, 2018
Kiln casting glass, fused glass, glass with inclusions, mixed technique
Dimensions: 5/27/36
Krista Israel
Krista Israel, Netherlands, Seedpod #4, Seedpod Series, 2014, Flame Worked, Blown Glass, Cold Worked, Assembled, 20/20/20cm, ARTWORK DESCRIPTION: Seedpod Series of small glass objects is an ongoing series since 2014. It consists of small seeds covered with glass spikes. These pieces are made when I need time to think about bigger and complex work.
ARTIST INFO:
“Krista Israel is a mixed media artist with a main focus on glass. Looking at her work it is like entering a story. The artworks are pleasing to the eye, but there is a layer of bittersweetness in all of them. Her works are in a realistic style, but it is not about the obvious reality. She is an artist who uses a broad variety of techniques, using the natural characteristics of glass to express her thoughts and reflections of the world and people, thus addressing the needs of our well-being. The combination of different techniques and her thoughts make her work complex and intriguing.”
Helene Besancon National Glass Museum (NL), Neues Glas Magazine
Kristina Ligačová
Kristina Ligačová
Slovakia, Fragment, 2023, Kiln formed, Mixed technique, Author's technique, cyanotype on glass fabric, 15 х 35/30/23
Kristína Ligačová
Kristína Ligačová, Slovakia, Bubbles, 2020, Blown Glass, Mixed Technique, Dimensions 25/25/19
Kseniia Vekshina
Kesniia Vekshina
Russian Federation, Spring Wind, 2020, Kiln Cast, Dimensions 24.5/26.5/1.8
Kseniia Vekshina
Kseniia Vekshina, Russian Federation
Ice, 2016
kiln casting glass
Dimensions: 39/43/1.5
Kwun Lan Wong
Kwun Lan Wong, China, I thought you were listening, 2022, Blown glass, Hot sculpted, Painted, 67/40/30
ARTWORK DESCRIPTION: 'Using life-sized glass characters, my work manifests the anxiety generated by the fragility of trust and intimacy in contemporary human relationships. The medium of glass allows me to demonstrate the interdependent relationship of life. Glassblowing requires close teamwork. Based on the logic of human coexistence, the further we are away from our community, the harder it is for us to feel peace and satisfaction. With the help and trust of other glassblowers, My character expresses my inner self in this safe community. Characters’ forms and gestures evoke the audience's empathy.'
Lada Uchaeva
Lada Uchaeva, Russian Federation
Silense, 2018
print on glass, cold-worked
Dimensions: 40/34/10
Laura Kriefman
Laura Kriefman
United Kingdom, Cleo, 2025, Stained glass, 42/42/0.6
Laura Lærke Nielsen
Laura Lærke Nielsen, Denmark, Tactile Landscape, 2022, Blown glass, 18/18/32cm,
ARTWORK DESCRIPTION: Working with shards I create a sculptural surface I refer to as a landscape. It requires the cooperation of the materials, as the glass body partly determines where and how specific shards attach. This cooperation is half frustration, half fascination, as the at times wayward behavior of the glass body and the inability to shape it with my hands, makes the process wild and messy.
The end result does not reflect that, instead it appears friendly, soft and appetizing.
ARTIST'S STATEMENT: 'I have always been creative, and during my own creative development, I discovered glassblowing during a stay at a folk high school.
Glass is a fantastic material to work with—robust, sensitive, and willful. I find it exciting to challenge the classic, clean style in glass, which is why I think my glass pieces have a playful and sensual expression. They are all made with immense love for and respect for the material and the process, and each individual piece of glass has received special treatment.
My designs are contemporary fusions of sculptural and functional elements.
I work with recycling shards from failed glass pieces. Admittedly, it's a simple idea to transform something flawed into something new and beautiful, but nonetheless, it's a condition for all people. It's something we all experience throughout life in different disguises.
In my glass pieces, there is a clear connection between the old, broken, and the new, colorful. I work with two different expressions, depending on how early in the process I melt the shards in—I call them tactile and swirley.
Swirley is when the shards are fully melted in, and the colors take on a watercolor-like expression. The tactile is when the shards are melted into the glass later and protrude. It's the hardest to work with, as it disrupts the glass bubble or glass body during the process, and it's naturally not possible to shape the body itself after the shards are fused in. It is a constant source of both fascination and frustration.
I stick to a basic form for the glass body, as the shards should be the focus.I have always been creative, and during my own creative development, I discovered glassblowing during a stay at a folk high school.
Glass is a fantastic material to work with—robust, sensitive, and willful. I find it exciting to challenge the classic, clean style in glass, which is why I think my glass pieces have a playful and sensual expression. They are all made with immense love for and respect for the material and the process, and each individual piece of glass has received special treatment.
My designs are contemporary fusions of sculptural and functional elements.
I work with recycling shards from failed glass pieces. Admittedly, it's a simple idea to transform something flawed into something new and beautiful, but nonetheless, it's a condition for all people. It's something we all experience throughout life in different disguises.
In my glass pieces, there is a clear connection between the old, broken, and the new, colorful. I work with two different expressions, depending on how early in the process I melt the shards in—I call them tactile and swirley.
Swirley is when the shards are fully melted in, and the colors take on a watercolor-like expression. The tactile is when the shards are melted into the glass later and protrude. It's the hardest to work with, as it disrupts the glass bubble or glass body during the process, and it's naturally not possible to shape the body itself after the shards are fused in. It is a constant source of both fascination and frustration.
I stick to a basic form for the glass body, as the shards should be the focus.'
Laura Madsen
Laura Madsen, Denmark
Gargoyle Meltdown, 2017
blown glass, mixed technique
Dimensions: 23/17/17
ARTWORK DESCRIPTION: 'I am primarily educated at Orrefors Glassbruk in Sweden but I have also worked at Simone Cenedese in Venice. In addition, I have participated in several courses around the world for example at Sar-Porteries, France and at Pilchuck in Seattle. In 2002 I founded my own studio LaMa Glas in Denmark, where I have been working ever since. I have always been fascinated by the glowing hot glass and the bright orange colour. I find that the transparency and fragility of the finished glass pieces are in great contrast to the intense work process with the hot melted glass. I try to maintain a moment of this process in my work to achieve a lively and organic expression. I have chosen a piece from my “gargoyle” collection, where I combine sandcasted heads with the hot blown glass. Gargoyle melt down is a sculpture/vessel, where I have applied sand casted heads and then gathered glass around it. The shape of the heads melts and the faces left in the glass are traces made only out of small bobbles and sand grit; it appears as a frozen moment of time.'
Laure Fradin
Laure Fradin, France
Behind The Clouds, 2016
blown glass, 30/10/92cm, ARTWORK DESCRIPTION: This piece is a homage to some of the beautiful things that my mother told me as a kid. The first time that I was confronted by the loss of a member of my family, I felt devastated and lonely. My mother told me that, if I found some pink clouds in the sky, it meant that the relative who I had lost was thinking about me. And in a way I can still be connect to this person. These days I feel nostalgic and think of all the beautiful moments that I share with people that I love.
Born in 1985 in Paris, France, Laure Fradin grew up in a normal family complete with plenty of secrets and baggage. As a little kid, Laure aspired to become a professional photographer of cats and dogs (for kitsch postcards), or a cathedral builder. After a Bachelor of Photography at the University of Paris VIII, Laure was introduced to glass through the stained-glass work of Fréderic Biardeau. At this time, Laure was beginning to explore family stories through her photography. She also began to question how to capture the significance of everyday objects.
In 2010, Laure found her true passion for glass and decided to start blowing glass full time. This love would inspire her to leave Paris for a small village of 500 people to learn the craft. After two years honing her skills, she graduated with first class honors from the CERFAV. Her curiosity for glass drove her to travel around the world and led her to spent six months in the Tobias Mohl Studio, in Denmark. She is now a design associate at JamFactory in South Australia where she continues to explore ideas of haunting family histories and the creative potential of everyday objects in her work.
Lee Harris
Lee Harris, United States, Reliquary of a Pope, 2021, Assembled, Blown Glass, Hot Sculpted, Dimensions 46/20/20
Ljiljana Barković
Ljiljana Barković, Croatia, Couple, 2021, Cold Worked, Fused, Kiln Cast, Mixed Technique, Dimensions 13/6/6.5
Lothar Böttcher
Lothar Böttcher, South Africa, Crouching Leopard, 2021, Cold worked (Schott optical glass), 19/5/12cm, ARTWORK DESCRIPTION: Crouching Leopard is part of my Precious Beast series of sculptures inspired by Palaeolithic art. My Precious Bests are a meditation on the process of making, linking mankind throughout millennia as imaginative and creative creatures. These fantastical beasts are an attempt to find the magic within us all.
ARTIST INFO:Lothar Böttcher intersects sculpture, photography and light to create visually striking works that ignite curiosity, tell stories and combine exceptional craftsmanship in the oeuvre of glass as expressive medium.
Lothar’s work has been seen in museums and galleries around the world since the late 1990’s, including the Corning Museum of Glass (USA), the Pretoria Art Museum (South Africa), the Glasmuseum Frauenau (Germany), the Glasmuseum Lette (Germany), the Glasmuseum Hadamar (Germany), the Toyama Art Glass Museum (Japan) and the Smithsonian Renwick Gallery (USA).
His work can be found in public collections of museum, as well private collections world wide, most notably the Corning Museum of Glass and the Glasmuseum Frauenau.
Lothar is a leading voice for the creative glass community, curating and coordinating several major exhibitions and project, such as Fired Up! for the United Nations’ International Year of Glass 2022 at the Pretoria Art Museum. He has instigated and lead collaborative projects to promote the use of glass as an expressive medium through the “Blow Your Sculpture” events hosted since 2016.
Lothar also shares his knowledge as invited guest lecturer at the Tshwane University of Technology’s Glass Art & Design department.
For the 2024 Glass Art Society conference in Berlin, Lothar is part of the international cold-working collective, the Lathe Riders.
The Lathe Riders will, for the first time in history, open the GAS conference with a cold-working demo.
Lothar- Böttcher
Lothar Böttcher
South Africa/ Germany, Spot the Lines, 2024, Kiln formed, Cold worked, Laminated, Layered, Optical glass, 17/35/6
Lucian Butucariu
Lucian Butucariu, Romania, Portrait, 2021, Acid Etching, Blown Glass, 15/10/20cm, ARTIST INFO: Born in 1958, 6 September, Brusturoasa-Bacau, Romania
Finishes at the Art Institute “Nicolae Grigorescu” , 1982 promotion – Glass department, under the guidance of Dan Popovici and Ioan Lucia.
Starting 1982 works at the creative departments of Avrig and Stirom S.A. Bucharest, where he develops prototypes for mass production to clients from Romania and abroad.
Since 1990 he’s assistant, teacher and starting 2012 head of the Ceramics, Glass and Metal department at the National University of Arts Bucharest.
Since 1990 member of the Romanian Union of Artists, one of the main leaders of the Bucharest office, being involved in organizing different events like the “National Glass Salon”, “Arts of Fire” and “Recipient”.
Starting 1982 participates to almost all the exhibitions organized by the Romanian Union of Artists.
Lærke Laura Nielsen
Lærke Laura Nielsen
Denmark, Tactile Infatuation, 2024, Blown glass, Silvering, 23/16/13
M. Guclu Polat
M. Guclu Polat, Turkey, Crack in Everything, 2016, Blown Glass, Hot Sculpted, Hot Worked, Sandblasted, 46/14/14cm, ARTWORK DESCRIPTION: My work is inspired by and it deals with how humans adapt (or cannot manage to adapt) themselves to the society dynamics in progress and how their awareness rises, changes and shapes up as they grow older. Just as we give shape to glass. The sculpture figures I made in “The Borders of Human Traits” series display how our bodies shape up as they tangle into these rules and borders, and the war between our inner world and the world outside. The contrast harmony of glass and copper material used, and how the copper wire entwines around the hot glass in order to shape it up, has given me a chance to give an abstract expression of how our characters are shaped up.
Maciej Dyszkiewicz
Maciej Dyszkiewicz
Poland, OCEANIC, 2017, Blown glass, engraved, 35/8/8
Magdalena Zarychta
Magdalena Zarychta
Poland, (COM)PRESSION XV, 2023, Blown glass, Hot sculpted, Hot worked, 55/25
Makar Zhemchuzhnikov
Makar Zhemchuzhnikov, Russian Federation, The radius of freedom is the length of the chain, which we measure ourselves, 2019, Kiln Cast, Dimensions 70/12/12
Maria Torrendell
Maria Torrendell, Uruguay
Tribute, 2019
fused glass, float glass, print on glass, mixed technique
Dimensions: 39/30/26
Maria Usova
Maria Usova, Russian Federation, Forgotten Secret, 2017, Fused, Pâte De Verre, Dimensions 20/42/40
Mariana Sabbatella
Mariana Sabbatella
Argentina, Jellyfish, pelagia noctiluca, 2022, Kiln cast, Laminated, Digital printing, luminescent glaze, 19/27/4
Maricel Alvarado Orozco
Maricel Alvarado Orozco, Costa Rica, In The Huge Sea, 2020, Cold worked, Enameled, Fused, 86/53/1,5cm
Marina Aletsee
Marina Aletsee
Germany, On the pulse of time, 2018, Kiln Cast, Dimensions 17/12/9
Markéta Váradiová
Markéta Váradiová
Czech republic, Germs of Infinity, 2019, molded glass, 10 psc, each 6/4/4
Markéta Váradiová & Iva Kolorenčová
Markéta Váradiová & Iva Kolorenčová
Czech Republic, Unpronounceable, 2021, fused glass, 2x30/4/21 cm, 1x15/4/21 cm
Markéta Váradiová and Iva Kolorenčová
Markéta Váradiová and Iva Kolorenčová, Czech Republic, NOVA, 2021, Cast crystal glass, 10/10/6
Markus Mäkinen
Markus Mäkinen, Finland, Critically Endangered, 2021, Fused Glass, Dimensions ⌀ 47
Markéta Váradiová
Markéta Váradiová, Czech Republic
Nebula M50, Mlhovina, 2017
Mirrors
Dimensions: 50 /80
Marta Ramírez
Marta Ramírez, Colombia, Water, The New Liquid Gold, 2021, Assembled, Flame Worked, Dimensions 23/34/15
Marta Ģibiete
Marta Ģibiete, Latvia, Wild bud, 2020, Fused Glass, Painted Glass, Mixed Technique, 15/35/15cm, ARTIST INFO: Marta Ģibiete creates new beings from pieces of glass; objects that appear to possess life, and one or two secrets on top of that. Like a miniature, mischievous God, she sculpts them a body, then breathes a soul into them. As the viewer, mesmerized, attempts to make contact with these alien life forms, he or she might ponder what constitutes consciousness, or personhood.
Marta Ģibiete works in various techniques, gaining particular recognition with spatial glass works created in an unusual technique and various scales. Marta's glass sculptures are geometric and simultaneously poetic, created by cleverly circumventing the complex nature of glass technologies. She discovered this unique technique very early – during her studies, achieving international recognition which includes two important awards. Since then, Marta has participated in exhibitions, symposia, and conferences worldwide. In her artwork, Marta also employs other techniques – she likes to create glass installations in various environments, use a mirror, play with its versatile nature. Marta Ģibiete is a Latvian glass artist, born and raised in coastal city of Liepāja, currently lives and works in Riga. Graduated from the Art Academy of Latvia with a master's degree. Marta's creative work is often shown in group exhibitions all over the world, there have been several solo exhibitions in Riga, Latvia and abroad. The artist's works are in the collections of glass and design museums of Europe and Japan, as well as Poland.
Martine Luttringer
Martine Luttringer
France, Fragment of History: Eve, 2022, Sand cast, Engraved, Mixed technique, 24/24/7
Marzena Wilk
Marzena Wilk
Poland, Delamination, 2024, Kiln formed, 58/58/10
Masahiro Sasaki
Masahiro Sasaki, Japan, Tensei, 2011, Blown glass, Sandblasted, 52/19/20cm,
ARTWORK DESCRIPTION: In Japan, one of our aesthetics about craft is the "beauty of usage". We used to translate Japanese ‟Kogei” to "Craft" with functionality in mind. But that translation is not enough to explain the current situation in Japan. Now many Japanese makers are producing sculpture concentrating on process and materials. This prevalent way of working produces a diversity of forms. Considering
this shift from functionality to sculptural form, the word “Kogei” takes on new meaning.
Matea Zeman
Matea Zeman
Croatia, Cirrostratus sepia, 2024, Kiln formed, Painted, Engraved, Mixed technique, 19/20/3
Matea Zeman
Matea Zeman, Croatia, Space Artifact 3/3, 2020, Cold Worked, Glass with Inclusions, Kiln Cast, Pâte De Verre, Dimensions 15/20/20
Michael Hernandez
Michael Hernandez, United States, Peekypucker, 2019, Assembled, Blown glass, Engraved, Hot worked, Flame worked, Dimensions 12/20/25
Michaela Spružinová
Michaela Spružinová, Czech Republic, Coral, 2022, Fused, Lamp worked/Flame worked, 15/15/30
ARTWORK DESCRIPTION: 'The fragility of spatial drawings, determines the method of adjustment. It's an extension to a story-telling and building a specific installation. Thin glass semi-finished products are drawn from various pieces of glass, which are recycled for a second life. Recycling glass is one of my basic philosophical attitudes on how not to overwhelm living space.'
Michaela Spružinová
Michaela Spružinová, Czech Republic, My Shoes, 2018, Fused Glass, Flame worked, Slumped, Dimensions 12/100/38
Ming-Fan Cheng
Ming-Fan Cheng, Taiwan, Gap of Flowing Light No.12, 2018, Fused Glass, Mixed Technique, Slumped, Dimensions 30/26/26
Ming-Fan Cheng
Ming-Fan Cheng, Taiwan, Gap of Flowing Light-NO.7, 2018, Forged, Slumped, 21/42/33cm
ARTWORK DESCRIPTION: This sculpture shows glass with liquid, flowing qualities by experimenting with the
physical phenomenon that sees glass under high heat and oozing out of a metal gap. The metal
vessel is covered with glass that appears supple yet frozen, and the metal’s rigidness and the
glass’s suppleness come to co-construct a transfixed organic state, which evokes a harmony
between essence, form, and concept. Furthermore, light is introduced to penetrate in from the
top of the artwork to create vibrant multilayered lights and shadows on the glass.
Ming-Fan, Cheng
Ming-Fan, Cheng, Taiwan
Soft Vase, 2015
Blown glass, 14х13х15 cm; 3 pieces
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland, Rarus I & II, 2022, Cold worked, Mixed technique, 21/11/11 | 23/11/10
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland
The New Sprout II, 2017
Molded, fused glass
Dimensions: 7/28/28
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland, Passion, 2020, Cold worked, Mixed Technique, Dimensions 31/11/6.5
Miroslava Ptáčková
Miroslava Ptáčková
Czech Republic, Horizon of the Landscape, 2024, Painted, Acid etching, Mirror glass, аuthor's technique, hand-scratched, 25/31
Miroslava Ptáčková
Miroslava Ptáčková, Czech Republic, Nightfall, 2019, Painted Glass, Dimensions 27/34/1
Mitka Małgorzata
Małgorzata Mitka, Poland
Noble Chicks, 2016
Szlachetne Laski
Sumping, print on glass and paper
Dimensions: 100/70/200
Morgan Stockton
Morgan Stockton, United Kingdom, 2018,
Coiled 3,
Blown glass, glass with inclusions, cold-worked, mixed technique, 19/12/28cm, ARTWORK DESCRIPTION: Birmingham’s (United Kingdom) architectural, industrial and manufacturing heritage have informed my work conceptually and aesthetically, through my materials and using a restricted colour palette of greys to bring this to the foreground. Characterised by a minimal aesthetic and inspired by brutalist architecture, represented by the steel grid structures I create, that dictates the forms and surface pattern of the glass. I am actively investigating my personal heritage within Birmingham as well as my grandparents’ histories with the materials that we share a passion for and how this influences my practice. My great grandfather was a glass blower for Chance Brothers and Company, once a leading glass manufacturer and a pioneer of British glassmaking technology in Smethwick, Birmingham.
Mustafa Ağatekin
Mustafa Ağatekin, Turkey, Day Dreams, 2017, Fused Glass, Dimensions ⌀40/2
Nanni Johanna Söderberg
Nanni Johanna Söderberg
Sweden, Out of sight I grow, 2024, Blown glass, Cold worked, 12/20/10
Natalia Gerschcovich
Natalia Gerschcovich, Brazil, Invisible Joy, 2018, Mixed Technique, Dimensions 30/40
Negin Navabi
Negin Navabi
Iran, Nature in the Future, 2024, Kiln formed, Pâte de verre, Mixed technique, 8.5/ 27/ 26.5
Negin Navabi
Negin Navabi, Iran, Catch, 2020, Kiln Cast, Dimensions 15/12/13
Nihat Demir
Nihat Demir
Turkey/ Belgium, Reflection, 2024, Optical glass, 17/37/9
Nilgün Dicle
Nilgün Dicle, Turkey, Boat Carrying the Sea, 2019, Layered, Slumped, Dimensions 35/20/10
Olga Zakirova
Olga Zakirova
Russia/ Germany, Flower world, 2024, Lamp worked/ Flame worked, 5,1/1,5
Ömür Duruerk
Ömür Duruerk
Turkey, Spinal, 2023, Kiln cast, Lamp worked/ Flame worked, lost wax technique, 48/40/9
Palo Macho Jana Hojstricova
Palo Macho and Jana Hojstričová, Slovakia, Between Rooms, 2021, Cold Worked, Digital Printing, Fused Glass, 102/30/80cm
Pascale Seil
Pascale Seil, Luxembourg, Snake, 2020, Assembled, Blown glass, Cold worked, Engraved, Hot sculpted, Hot worked, Mixed technique, Dimensions 44/5/8.5
Patricia Bagniewski
Patricia Bagniewski, Brazil, X-ray, 2020, Digital printing, Kiln cast, Lamp worked/Flame worked, Slumped, Dimensions, 30/30
Péter Borkovics
Péter Borkovics
Hungary, Red Refract, 2022, Kiln formed, Cold worked, 35/30/10
Péter Gergely Lendvai
Péter Gergely Lendvai
Hungary, Bronze Moon, 2024, Blown glass, Hot sculpted, 29.5/ 14/8
Plamen Kondov
Plamen Kondov
Bulgaria, Monuments of the past, 2024, Kiln cast, Kiln formed, Cold worked, 45/37/8
Poonam Chatlani
Poonam Chatlani, Panama, Take me, 2022, Kiln Cast, 23/23/50
ARTWORK DESCRIPTION: 'Take me is the journey we make in life and that of each one where there are dreams and experiences and where what we build forges our present and our future.'
Radu Popovici
Radu Popovici, Romania, Conserve, 2020, Assembled, Engraved, Dimensions 27/15/15
Rafael A. Zarazúa R.
Rafael A. Zarazúa R.
Guatemala, Golden Boy, 2021, Assembled, Blown Glass, Cold Worked, 32/23/19cm
Raiza Carreño
Raiza Carreño, Venezuela, An angel in the dark, 2020, Stained Glass, 120/53/43
Randy Cann
Randy Cann,
United States of America
Mother Peacock, 2019
glass fusion and draping
Rebecca Arday
Rebecca Arday, USA
That Which Bends Can(not) Break, 2018
Lampworking
Dimensions: 1"/5"/5"
Renato Arnejcic
Renato Arnejčič, Slovenia, Family Matters, 2021, Kiln cast, Cold worked, Assembled, 14/32/32
Reshmi Dey
Reshmi Dey
India, Oinochoe - Triumph, 2023 , Mold blown, Hot sculpted, Hot worked, Lamp worked/ Flame worked Mixed technique, 61/41
Ricardo Hoineff
Ricardo Hoineff
Czech Republic/ Brazil, Autoportrait #1, 2024, Kiln formed, Mixed technique, 40/40/5
Rinoi Imada
Rinoi Imada, Japan, Inadequacy I, 2022, Blown glass, Hot sculpted, 19/19/11.5
ARTWORK DESCRIPTION: 'When I work as a female glass blower in a production with a man, I realize an irritation that is like thin glass needles poking my finger. The irritation comes from my bodily abilities, but also from a gaze that people think female glass blowers are incapable. Anxiety, inadequacy, and anger have become too common in my life. But, how should I treat this irritation?'
Rosario Mengual de la Peña
Rosario Mengual de la Peña, Mexico, Resilience, 2021, Fused, 30/8/35, ARTWORK DESCRIPTION: 'Resilience is a tribute to all the women who throughout the history of humanity have tried to leave their mark and make a change in the world. Those golden traces, valuable despite all the ups and downs ..... What they had to overcome ...'
Saara Sirkeoja
Saara Sirkeoja, Finland
Somnus, 2019
blown glass
Dimensions: 35/18/18
Santa Bekmane
Santa Bekmane
Latvia, 21st century - In the power of technology, 2022, Kiln cast, Cold worked, Lost wax technique, 17/9/9
Sayed Waked
Sayed Waked
Egypt, Supplication, 2024, Blown glass, Hot worked, Lamp worked/ Flame worked, 35/25/35/35
Sayed Waked
Sayed Waked, Egypt, Mysticism, 2021, Hot sculpted, Flame Worked, Dimensions 20/20/65
Sayed Waked
Sayed Waked, Egypt
See through, 2017
Blown glass, lampworking
45/30/200cm
Serçin Mezhepoğlu
Serçin Mezhepoğlu
Turkey, New World Symbol, Version 2: The Compass of Wisdom, 2022, Glass Mosaic, 77/77/2
Sigrid Luitsalu
Sigrid Luitsalu
Estonia, Inner Patterns of Repetition, 2023, Pâte de verre, 25/27/20/27
Silvia Zimerman
Silvia Zimerman, Israel
Freedom of Thought, 2017
kiln casting glass
Dimensions: 31/26/20
Silvina Valeria Valls
Silvina Valeria Valls
Argentina, Adrift, 2023, Pâte de verre, 22/15/12
Sini Majuri
Sini Majuri, Finland
Mountain, Vuori, 2017
Mouth blown glass
Dimensions: 19/18/18
Slate Grove
Slate Grove, Finland, Louis Vuitton Designer Beliefs, 2018, Cold worked, Enameled, Fused, Kiln cast, Layered, 20/18/6cm, ARTWORK DESCRIPTION: Over the past 20 years, I have managed to develop an understanding of the material that allows for the glass making process to be a dialogue. The glass and I each have a voice in the process that, together, create a visible harmony in the final piece. I continue to strive for the ability to shape glass without applying extra force or adding unnecessary steps to the process. I choose the best glass forming process based on visual and conceptual intentions, and I have been known to utilize blowing, hot working, casting, and grinding when I find it beneficial.
I work with glass because it has a unique potential for artistic expression. Glass can be hard or soft, light or heavy, sharp or smooth, opaque or transparent, massive or delicate. Whether it is representational or abstract, it can transport the viewer to new places. Glass is a wonderful mixture of physics, chemistry, art, and craftsmanship and it possesses a power that is as close to alchemy as I will ever experience.
Sophie Longwill
Sophie Longwill, Ireland
Together II, 2018
pate de verre
Dimensions: 19/4/37
Sophie Longwill
Sophie Longwilll, Ireland, Small Sky, 2019, Pâte De Verre, Slumped, Dimensions 9/19.5/15
Studio Penocze
Studio Penocze, Czech Republic
Democracy of Three
kiln casting glass, cold-worked
Dimensions: 5/50/100
Susan Gott
Susan Gott, United States, Garden Sentinel, 2018, Sand cast, 94/22.8/17.8
ARTWORK DESCRIPTION: 'My work embodies an interest in mythological imagery, symbolism, and philosophies from historic and ancient cultures. I find inspiration in symbols of ritual art, myths and how they connect us, most deeply, with our own nature and our place in today’s world. The resulting glass, with primitive qualities and metaphors, are a visual re—presentation of the cycles of life. The archetypal images that emerge explore spirituality, existence, humor, love, magic, dualities and the beauty of life. The human form is a vessel for my connection to Spirit. The elements of this ancient, visual language have become enmeshed in my thought and in my art as I create a new contemporary mythos in glass.'
Susan Madacsi
Susan Madacsi, United States, Bobtails, 2021, Fused, Kiln Cast, Mixed Technique, Dimensions 16/13/2
Svetlana Fedorova
Svetlana Fedorova, Russian Federation, Storm, 2020, Slumped, Dimensions 43/37/50
Taha Baydar
Taha Baydar, Turkey, To be born, 2022, Blown Glass, 51/24/10
Tai Xiao
Tai Xiao, China, Coral Reef Sea 7, 2021, Cold Worked, Fused, Kiln Cast, 27/35/14cm
Tai Xiao
Tai Xiao, China, Landscape Forming, 2018, Kiln casting glass, fused glass, 14/32/44cm
Tali Grinshpan
Tali Grinshpan, United States, Yearn, 2017, Pâte De Verre, Dimensions 18/10/15
Teresa Almeida
Teresa Almeida
Portugal, Ocean Topography, 2023, Kiln cast, 125/35/10
Teresa Apud
Teresa Apud, Argentina, Beginning, 2021, Pâte De Verre, Dimensions 27/7
ARTWORK DESCRIPTION: 'The work consists of three Angels: one rose, one yellow and the other purple, placed in a circle looking at different places outside it. Its wings are made of white glass with the technique of pâte de verre and the body in kiln casting in bullseye glass. This work represents the inerrant departure of a very special being for my whole family. Thus representing his love, kindness and joy. Flying, caring and helping everyone from their freedom.'
Teresa del Valle Apud
Teresa del Valle Apud, Argentina
Freedom, 2017
mixed technique
Dimensions: 24/18/21
Tereza Vukić
Tereza Vukić, Croatia, High Seas, 2020, Painted, hot worked, slumped, Dimensions 30/10
Tim Spurchise
Tim Spurchise, United States, Diving Fish, 2022, Blown Glass and Hot Sculpted, 10.1/17.7/43cm
ARTWORK DESCRIPTION: My main series of artwork is a visual cacophony of whimsical and eccentric sculpted glass sea monsters as a response to my research of the sea monsters found on medieval and Renaissance maps. Many of these sea monsters exist as a representation of the loss of potential discovery, while acting as a facetious metaphor for the unknown state of the future of our oceans. To medieval and Renaissance beholders, the sea monsters on European maps represented real, unknown, dangers. To modern eyes, however, they are whimsical adorning elements which leave us reminiscent of a time when these Shakespearean terrors were a frightful force to be reckoned with.
Tineke Meijer
Tineke Meijer, South Africa, Morphing 1, 2022, Fused, Glass with inclusions, Layered, Mixed technique, ⌀ 42/4.3
Tirza Verrips
Tirza Verrips, Netherlands, No title, 2022, Blown glass, 25 /60/50
Tirza Verrips
Tirza Verrips, Netherlands, Horn of abundance, 2020, Blown glass, Hot worked, 40/12/21
Tirza Verrips
Tirza Verrips, Netherlands, Stone shaped Unica, 2019, Blown Glass, Glass with Inclusions, Hot Sculpted, 35/25cm
Tuva Gonsholt
Tuva Gonsholt, Norway, Pinocchio, 2020, Blown glass, Cold worked, Sandblasted, Dimensions 18/10/6
Tuva Gonsholt
Tuva Gonsholt, Norway, Creature #pink, 2022, Blown glass, Cold worked, Sandblasted, 15/6/12cm, ARTWORK DESCRIPTION: Insects and other strange creatures inspire my work. I transform a specimen’s decoration, shape or colors into something of my own artistic expression.
Ulrike Umlauf-Orrom
Ulrike Umlauf-Orrom, Germany, Autumn, 2018, Cold worked, Enameled, Kiln formed, Fused, Layered, Sandblasted , Slumped, Polished, 47/47/5
'I am inspired by textile art – weaving strings of colour and air into a multi-layered fabric of glass. Repetitive patterns and the application of coloured shapes draw the viewer´s attention into the depth of the glass. The apparently simple, reduced pieces are sculptural objects, they do not reveal the painstakingly complex process of their creation to a casual glance. A cloth of glass, a frozen textile – they are made for contemplation.'
Valerie Rey
Valerie Rey
Costa Rica/France, Together, 2023, Lamp worked/ Flame worked, Resin, gold, 50/33/24
Vera Golubeva
Vera Golubeva, Russian Federation, Passion, 2016, Cold Worked, Kiln Cast, 2 x 8.5/33/8cm
Vera Sadakova
Vera Sadakova, Russian Federation, Solicitude, 2019, Kiln Cast, 19/17/17cm
Veronika Mileva
Veronika Mileva
Bulgaria, Kiln Cats, 2021
Vessy Gekova
VijayKumar Roy
VijayKumar Roy, India, Rejoicing the memories of my father, 2022, Lamp worked/Flame worked, 40.6/30.5/ 30.5;
ARTORK DESCRIPTION: 'Two years ago, my father died because of COVID-19. He was a saint. He was my father as well as my best friend, he always stood by me. No matter what bad situation it was. I have had many ups and downs in my life, and he was a witness to it. I used to have bad down falls and I would fail so he would always push me by saying that a plant can grow by tearing a stone, so you are a
human, you can also do it. By remembering his words, I have made this artwork.'
Vladislava Tazetdinova
Vladislava Tazetdinova Russia, DriftLand Glass Wave, 2022, Lamp worked, 10/10/8cm, ARTWORK DESCRIPTION: DriftLand glass ocean is about the ballade of the sea and the wind, the breath of rain, the dance of snow, and the music of love and wandering. Most importantly, it encompasses dreams, adventures, and fairytales, woven into our lives. Reflecting the happiness of freedom and impermanence, these pieces of jewelry are like a crispy wind tangled in the hair, shimmering of the sunrise and enchanting sea songs, which echo in the heart with sparks of transparent-happy thoughts.
Wes Valdez
Wes Valdez, United States, Bowshock, 2018, Cold Worked, Kiln Cast, 35/25cm
Weston Lambert
United States, The Dance, 2020, Kiln cast, 10/10/30 cm
Yaron Meyer
Yaron Meyer, United Kingdom, Growth, 2021, Glass blown, Layered, Sandblasted, 70/80
Ye Lv
Ye Lv
China, Floating, 2023, Kiln cast, Cold worked, Glass with inclusions, Author's technique, 41/13/4,5
Yordan Narliev
Yordan Narliev
Bulgaria, Aggression, 2024, kiln cast glass, cold worked, wood, 75/ 90/ 28
Yordan Narliev
Yordan Narliev, Bulgaria, Wave, 2021, Fused Glass, Hand Formed, 42/28/25cm
Yordan Narliev
Yordan Narliev, Bulgaria
Plastic form, 2018
Cold-worked glass
Dimensions: 30/14/18
Yoshiko Okada
Yoshiko Okada, Japan, Harmony, 2022, Cold worked, Kiln cast, Sandblasted, 24/20.5/4.5cm,
ARTWORK DESCRIPTION: I like the stage of questioning myself and my ideas, and hence form, narrative, image, figuration, color and texture, spring from investigation into my culture of origin - my
childhood memories and experiences - together with that of my new cultural background and influences.
Yuki Kokai
Yuki Kokai
United Kingdom, Cocoon, 2023, Blown glass, Hot worked, Brass, 30/30/30
Özge Biçer
Özge Biçer, Turkey, Transformations, 2018, Cold worked, Kiln cast, Laminated, Lamp worked/Flame worked, 30/30/6cm