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.
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.
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
Maricel Alvarado Orozco
Maricel Alvarado Orozco, Costa Rica, In The Huge Sea, 2020, Cold worked, Enameled, Fused, 86/53/1,5cm
Marina Aletsee & Veronika Sing
Marina Aletsee & Veronika Sing, Germany, On the pulse of time, 2018, Kiln Cast, Dimensions 17/12/9
Markéta Váradiová
Markéta Váradiová, Czech Republic
Nebula M50, Mlhovina, 2017
Mirrors
Dimensions: 50 /80
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
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.
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, Space Artifact 3/3, 2020, Cold Worked, Glass with Inclusions, Kiln Cast, Pâte De Verre, Dimensions 15/20/20
Marta Ramírez
Marta Ramírez, Colombia, Water, The New Liquid Gold, 2021, Assembled, Flame Worked, Dimensions 23/34/15
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, My Shoes, 2018, Fused Glass, Flame worked, Slumped, Dimensions 12/100/38
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.'
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.
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, Rarus I & II, 2022, Cold worked, Mixed technique, 21/11/11 | 23/11/10
Ming-Fan, Cheng
Ming-Fan, Cheng, Taiwan
Soft Vase, 2015
Blown glass, 14х13х15 cm; 3 pieces
Ming-Fan Cheng
Ming-Fan Cheng, Taiwan, Gap of Flowing Light No.12, 2018, Fused Glass, Mixed Technique, Slumped, Dimensions 30/26/26
Minna Tuohisto-Kokko
Minna Tuohisto-Kokko, Finland, Passion, 2020, Cold worked, Mixed Technique, Dimensions 31/11/6.5
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
Natalia Gerschcovich
Natalia Gerschcovich, Brazil, Invisible Joy, 2018, Mixed Technique, Dimensions 30/40
Negin Navabi
Negin Navabi, Iran, Catch, 2020, Kiln Cast, Dimensions 15/12/13
Nilgün Dicle
Nilgün Dicle, Turkey, Boat Carrying the Sea, 2019, Layered, Slumped, Dimensions 35/20/10
Özge Biçer
Özge Biçer, Turkey, Transformations, 2018, Cold worked, Kiln cast, Laminated, Lamp worked/Flame worked, 30/30/6cm
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
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
Raiza Carreño
Raiza Carreño, Venezuela, An angel in the dark, 2020, Stained Glass, 120/53/43
Rafael Arazua
Rafael A. Zarazua R., Guatemala, Golden Boy, 2021, Assembled, Blown Glass, Cold Worked, 32/23/19cm
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
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?'
Saara Sirkeoja
Saara Sirkeoja, Finland
Somnus, 2019
blown glass
Dimensions: 35/18/18
Sayed Waked
Sayed Waked, Egypt
See through, 2017
Blown glass, lampworking
45/30/200cm
Sayed Waked
Sayed Waked, Egypt, Mysticism, 2021, Hot sculpted, Flame Worked, Dimensions 20/20/65
Silvia Zimerman
Silvia Zimerman, Israel
Freedom of Thought, 2017
kiln casting glass
Dimensions: 31/26/20
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, Landscape Forming, 2018, Kiln casting glass, fused glass, 14/32/44cm
Tai Xiao
Tai Xiao, China, Coral Reef Sea 7, 2021, Cold Worked, Fused, Kiln Cast, 27/35/14cm
Tali Grinshpan
Tali Grinshpan, United States, Yearn, 2017, Pâte De Verre, Dimensions 18/10/15
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
Teresa Vukic
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, Stone shaped Unica, 2019, Blown Glass, Glass with Inclusions, Hot Sculpted, 35/25cm
Tirza Verrips
Tirza Verrips, Netherlands, Horn of abundance, 2020, Blown glass, Hot worked, 40/12/21
Tirza Verrips
Tirza Verrips, Netherlands, No title, 2022, Blown glass, 25 /60/50
Tuva Gonsholt
Tuva Gonsholt, Norway, Pinocchio, 2020, Blown glass, Cold worked, Sandblasted, Dimensions 18/10/6
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.'
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
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.'
Wes Valdez
Wes Valdez, United States, Bowshock, 2018, Cold Worked, Kiln Cast, 35/25cm
Yordan Narliev
Yordan Narliev, Bulgaria
Plastic form, 2018
Cold-worked glass
Dimensions: 30/14/18
Yordan Narliev
Yordan Narliev, Bulgaria, Wave, 2021, Fused Glass, Hand Formed, 42/28/25cm
Yaron Meyer
Yaron Meyer, United Kingdom, Growth, 2021, Glass blown, Layered, Sandblasted, 70/80
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.
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.'
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 ...'
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.
