What is your chosen medium and what are your techniques?
At the moment I prefer to work figuratively using the lost wax technique, but I originally model my figures in clay. For a long time I have also been practising the graphic technique of monotyping on paper, which I have begun to translate into works in glass. Thus, I combine many techniques and skills and my artistic output is not homogeneous.
How would you describe your work and where do you think it fits within the sphere of contemporary glass?
Although I work mainly in glass, I see my work as art in general and want it to be seen as such. This means that it is not the substance that is the focus and goal for me, but the message and the intention. It is also difficult for me to define my position in the contemporary glass world because I am an autodidact, I work individually in my small studio and I do not often attend glass symposia.
Tell us a bit about your process and what environment you like to work in?
I work slowly, in concentration and in isolation. The processes I have chosen take time and sometimes I have to start all over again or abandon a chosen direction. Of course, I sometimes wish that I could work in a larger team and with more technical capacity to be able to carry out larger works.
Who do you look up to when it comes to aesthetics?
I consider Ann Wolff’s work to be groundbreaking in the studio glass movement. By using the transparency of glass matter, this artist allows us to look into the “inner life” of her sculptures in a metaphysical sense. Gerhard Ribka’s children’s figures have also shaped my aesthetic enormously – like the matter itself, the object depicted is similarly fragile.
What currently inspires you and which other artists do you admire and why?
I am currently following the work of Brazilian photographer and climate activist Sebastiao Salgado. The way he portrays the last remnants of untouched nature and the last remaining natural tribes moves me to the depths. In some way I would like to contribute to the protection of these environments and communities, to draw attention to their beauty, fragility and vulnerability.
How are you experiencing the Covid-19 pandemic in your country? To what extent has your everyday life as an artist changed in lockdown?
Due to the pandemic, social isolation has increased and I feel it very acutely. There is a lack of contacts, impulses, many projects, programmes have been cancelled or postponed. The time in the lockdown was a largely lost time for me.