GLASS
'not to say anything doesn't mean there is nothing to look at or look through….' BACK
'not to say anything doesn't mean there is nothing to look at or look through….' BACK
2014 - 2016 (glass)
Use of one material...simplicity..... no manipulation or as much manipulation as possible...harmony in the process with 'alive' form.
Slow and fast, fragility and strength at the same time.... chance to feel the flow as material transforms from hard to honey like and back to hard. Associations with the glass as an old material. Reflections, light, possibility to look into it or look through and see reflection at the same time. Distortion within the angles of the ages.....all this is glass for me. You see it in completely different light when your hands experience rapid change of this material as the flame starts licking to the eye invisible crystals. Too much of the sudden heat and explosion happens. You want to control it and you can't.
It becomes a dance where you have to feel your partner in order to unify in the beauty of the movement. Timing, gentle pressure, little pull and then push, adding some more heat and keeping eye on the bright orange colour as it starts melting in your hands....this is as beautiful for me as to watch eyes of a cat just before she jumps after her prey.
Observation, feeling, manipulation and letting go need to be in harmony of the present moment.
Talking about making somehow doesn't fulfill the beauty of the actual act. Visual outcome has its own secrets. Each pair of eyes seeing something new adding to the object new story.
Inspiration comes alongside of reading Georgia O'Keeffes' biography knowing that as it was essential for her and many other artists it is essential for me to constantly probe, explore and expand my consciousness to the edges of my imagination. '...Making your unknown known is the important thing and keeping the unknown always beyond you – catching- crystalizing your simpler clearer vision of life only to see it turn stale compared to what you vaguely feel ahead. That you must always keep working to grasp…'
There are few things which meet inside of me in the same place and resonate in one harmony. One of them is the sound of the glass in my hands, movement recorded through the sound adding an audio image to visual and tactile existence of the glass piece. And when glass is talking you can let everything go quiet.
As there is no end to the light coming through the glass there is no defined edge between inspiration and intent. Process becoming inspiration and intent inspiring the process, not minding what happens.
Slow and fast, fragility and strength at the same time.... chance to feel the flow as material transforms from hard to honey like and back to hard. Associations with the glass as an old material. Reflections, light, possibility to look into it or look through and see reflection at the same time. Distortion within the angles of the ages.....all this is glass for me. You see it in completely different light when your hands experience rapid change of this material as the flame starts licking to the eye invisible crystals. Too much of the sudden heat and explosion happens. You want to control it and you can't.
It becomes a dance where you have to feel your partner in order to unify in the beauty of the movement. Timing, gentle pressure, little pull and then push, adding some more heat and keeping eye on the bright orange colour as it starts melting in your hands....this is as beautiful for me as to watch eyes of a cat just before she jumps after her prey.
Observation, feeling, manipulation and letting go need to be in harmony of the present moment.
Talking about making somehow doesn't fulfill the beauty of the actual act. Visual outcome has its own secrets. Each pair of eyes seeing something new adding to the object new story.
Inspiration comes alongside of reading Georgia O'Keeffes' biography knowing that as it was essential for her and many other artists it is essential for me to constantly probe, explore and expand my consciousness to the edges of my imagination. '...Making your unknown known is the important thing and keeping the unknown always beyond you – catching- crystalizing your simpler clearer vision of life only to see it turn stale compared to what you vaguely feel ahead. That you must always keep working to grasp…'
There are few things which meet inside of me in the same place and resonate in one harmony. One of them is the sound of the glass in my hands, movement recorded through the sound adding an audio image to visual and tactile existence of the glass piece. And when glass is talking you can let everything go quiet.
As there is no end to the light coming through the glass there is no defined edge between inspiration and intent. Process becoming inspiration and intent inspiring the process, not minding what happens.