What does it mean to you to join the North Lands Creative network and be part of building a community for glass?
I discovered NLC on a family vacation. Later I experienced the magic of the place during a ten day-class and completely fell in love with studio and landscape. We do not have such a strong glass community in Switzerland and I hope, to get some exchange from the NLC network.
Tell us about your work. What influences translate into your art practice?
I photographed every kind of ice in the Swiss Alps for many years. The similarity with glass simply demanded a translation in my work. When I see my favourite glacier vanishing every year, I feel pressured, to capture this beauty in my work. That interrupted my previous inspiration: human hands.
Has this changed the way you approach your work?
Developing new work is now more inspired by colour and images. The technical approach became first simpler, only to get even more complicated in my latest series of work. Every new idea needs a different approach, as I think it always is the case with glass.
What initially captured your imagination about glass?
The wish to deform glass-pieces for simple projects lead to failing torchwork experiments. Then I really got hooked in front of a Bernard Dejonghe-piece at V&A London. Soon after, I saw the light shine inside my first own casting piece and I am in love with cast glass ever since.
What’s the significance of the handmade to you?
Literally working with my hands, feeling and shaping the materials, is why I kept making glass for twenty years. In that process I can completely loose time and space, be with me completely. There is always much more in a handmade piece than the eye can perceive.
What was your route to becoming an artist?
Fearless experimenting, accepting failure and rejection, hard work and an open mind made me the artist I am today.
What is your chosen medium and what are your techniques?
I specialised in core-casting after making cast glass objects for some years. Today I take it even further by refilling the voids of the cores.
How would you describe your work and where do you think it fits within the sphere of contemporary glass?
On first glimpse my work appears decorative. But I work around the same topic for several years, and the inspirational background clearly also makes it a narrative.
Tell us a bit about your process and what environment you like to work in?
I work alone in my studio, executing every step from wax-model to the polished surface myself. But the few times I worked with a hot-glass-team, felt amazing. In the future I clearly would like to try hot glass casting, preferably in a residency in one of the big studios…
Who do you look up to when it comes to aesthetics?
What currently inspires you and which other artists do you admire and why?
What inspires me for years are our frozen landscapes. And among artists, I am a big fan of the work from Olafur Eliasson, his former Student Julian Charrière and James Turrell. I love the feeling when I become part of the art in a museum.
How are you experiencing the Covid-19 pandemic in your country? To what extent has your everyday life as an artist changed in lockdown?
Switzerland has its struggles, like many countries surrounding us. But there is light on the horizon. I personally felt a bit blocked at the beginning, but soon my work in the studio continued as usual. Even though exhibitions got cancelled, I still had some fantastic things going on.