What influences translate into your art practice?
As a young aspiring glass artist, I am inspired by the world and my own experiences such as investigating my heritage and identity alongside political and cultural divides in today’s society.
Has this changed the way you approach your work?
Yes, it has definitely changed the way I work because I have to take in consideration the concept that I’m working with I try to apply the natural qualities of glass to reflect my ideas and the way I see things.
What initially captured your imagination about glass?
I became Intrigued by the versatility of glass as a material, in particular the vast range of colours that can be achieved with the connection between material, light and reflections. I am passionate about all things glass, and driven by a desire to harness the unique qualities of the material which lend themselves well to artistic expression.
What’s the significance of the handmade to you?
In my opinion craftsmen and designer makers who produce bespoke handmade products, using traditional making techniques creating a perception of the possible future that has been perceived by many in today’s society.
What was your route to becoming an artist?
Having grown up loving art in its many forms, I feel particularly lucky to have found a material which captures my concentration and all my attention.
What is your chosen medium and what are your techniques?
I am predominantly a hot glass artist, who combines burnt paper, burnt wood and metal that is repeated and translates through glass objects. My work is often led by process and technique as I love to spend time in the hotshop, learning to master new skills and techniques which ultimately incorporate my own designs. The aesthetic and concepts of a piece are very important to me and I like to take time to achieve a quality of finish which enhances my design.
How would you describe your work and where do you think it fits within the sphere of contemporary glass?
The work I am challenges both artist and audience alike to articulate and interpret the great paradox of genocide and its impact on our lives: How is it that one societal group can impact so severely on another?
Tell us a bit about your process and what environment you like to work in?
My work is heavily led by technique and certain concepts that confront the artist with multiple dimensions that must be carefully constructed, deconstructed and re-assembled to create a narrative.
Who do you look up to when it comes to aesthetics?
DR Max Stewart, Simon Eccles, Menashe Kadishman, Peter Eisenman, Jeff Zimmer and Walter Zimmerman