What is your chosen medium and what are your techniques?
I use different techniques, finding ways of combining them. I like kiln-work and acid-etching as the results are sometimes a little bit unpredictable, depending on many outside conditions. As a balancing contrast, engraving gives the most control and is very meditative. I let the chemical reactions, caused by acid or heat, create chaos only to take it in my own hands again.
How would you describe your work and where do you think it fits within the sphere of contemporary glass?
I think my work would fit into the realm of semi-abstract expressionism and is mostly not functional. It seems such a privilege to have one’s thoughts and emotions take form in material and exist in reality.
Tell us a bit about your process and what environment you like to work in?
I have worked with sand-moulds for a long time. The process is reminiscent of children building sand-castles. Making the mould is spontaneous and suits my impatient character. In my workshop I have a small kiln that gives me independence. Lately, I’ve been working on an island where I have a small workshop surrounded by forest. Nature invades through door and windows…
Who do you look up to when it comes to aesthetics?
When I first saw the works of Anselm Kiefer, I was captivated. The works were grandiose and at the same time subtly detailed. I also love Japanese art and culture, Michael Kenna’s photos, in glass – Macho Palo’s monumental paintings, his subtle nuanced colours.
What currently inspires you and which other artists do you admire and why?
I have to say nature inspires me most. Decades ago, I got acquainted with Japanese artist Etsuko Nishi whose delicate works I admire until present day, and the great Czech engraver Jiři Harcuba has been an influence in many ways – his ability to inspire, to change, his discussions about wabi-sabi…
How are you experiencing the Covid-19 pandemic in your country? To what extent has your everyday life as an artist changed in lockdown?
The pandemic hasn’t left any countries untouched, including Estonia. There was a period in spring 2021, when we had one of the greatest percentages in Europe. That was frightening. However, it didn’t influence my work as I’ve always worked alone in my studio. Emotionally it definitely is omnipresent, giving a very different drift to one’s thoughts about life.