• What influences translate into your art practice?
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I am intrigued and guided by my curiosity. When I am making, I  constantly remind myself not to overthink and be more spontaneous, spontaneous and free. In my opinion, the work ends up being more authentic and even more interesting than a rational, contained idea.

• Has this changed the way you approach your work?
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I have learned to trust the process more. Not knowing the outcome allows us to explore new territories and give the space to be surprised by the making and discover places we never knew existed.

• What initially captured your imagination about glass?
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I LOVED that it could be fixed. When I first started to learn the heritage glass-cutting techniques, I fell in love with the possibilities of embellishing glass that was going to the bin. I became the facilitator of this transition and for this is where magic happens.

• What’s the significance of the handmade to you?
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By slowing down, going back to basics and making something with our hands like our ancestors did to survive. By connecting to this the visceral bond between the maker/ material and how this playful methodology is a tool to foster joy; a powerful life-force that can only be fostered within ourselves.

• What was your route to becoming an artist?
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I always loved art classes since I can remember. It always gave me tremendous joy so I pursued it any opportunity I had. I ended up choosing to do a Bachelor’s Degree in Graphic Design and later on a Master of Fine Arts of Glass at Edinburgh College of Art.

• What is your chosen medium and what are your techniques?
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I use discarded glass pieces and transformed them using various cold working processes to embellish and give the material a second chance.

• How would you describe your work and where do you think it fits within the sphere of contemporary glass?
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My studio practice is a magical world of second chances, where waste material is the starting point. Each work of mine is a poetic act of rebellion, a challenge to our current consumer habits and the status quo; now more poignant than ever.  By continuing to practice fading heritage glass cutting techniques, giving a chance to waste material and inviting our brain to see the potential of appreciating things from a different perspective. 

• Tell us a bit about your process and what environment you like to work in?
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Through my work, I invite the audience to delve into a magical world of second chances, where waste material is the starting point and curiosity is the guide. I create raw pieces that are put together intuitively through the joyfulness of play, exploring how discarded materials can be transformed and elevated. 

I love to work in my studio. It is a small space but it is full of the glass bits collected over the years and all my travels. It is full of my sketchbooks and full of light. The sunshine comes into the space in the afternoon and that is when the glass scupltures comes to life. It is the best show of the shadows, textures and forms come together as it was always meant to be.

• Who do you look up to when it comes to aesthetics?
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I am always observing nature. Lately, I have been a bit obsessed by drawing all the different birds in nature. The mixture of colours and I am mesmerised by the quirky characteristics and imagining how they look like vibrant dresses they choose to wear.

• What currently inspires you and which other artists do you admire and why?

I am moved by work that is timeless. The work of the architect Carlo Scarpa is one of my top 10 inspirations. His curiosity had no material boundaries, his taste was simple yet super elegant and I am always in awe of this.