About

My artistic practice is driven by experimentation with non-traditional processes in working with glass. Using techniques such as screen printing, casting, fusing, drawing and engraving, my works investigate the potential of the material.

Transparency, fragility and hardness are inherent properties of glass. Their limitations inspire new approaches and form the conceptual foundations of my work, which in itself aims to push the boundaries of traditional glass craftsmanship.

Collaboration is a central approach in my artistic practice, the nature of which is tied to nuanced social issues. The expertise of professionals from different fields and the perspectives of representatives belonging to different social groups are key to shaping the critical concepts behind my works.

Referring to the thought experiment "Mary's Room", the multidisciplinary work explores the correspondence between the functionality of the human consciousness and the reality in which it supposedly exists. The experiment describes Mary, a scientist, who lives in an all-black-and-white world. In this world, she has access to knowledge related to different colors, but she has no way of perceiving them with her eyes. The central question in the experiment is whether Mary would gain new knowledge when she steps outside her colorless world

In a similar way, the color of the glass-and-metal objects is conditional. It depends on the light that is placed inside them. Glowing briefly, it charges the pigments with which the glass is baked, so that they themselves begin to glow when the light goes out. Only by fulfilling the specific conditions, their light manages to materialize in the space. With their oval but irregular shape, they appear briefly until their charge runs out, much like signals between the synapses in the brain.

In this sense, the objects in the room create a closed system of interactions. Space becomes an experimental site of interfering connections - between the physical predetermination of being and its non-physical imprint in the human consciousness, between truth and need, between absence and presence.

Protest posters against the threat of war in Iraq in 2003 raise questions regarding the silence of Western society in the middle of the growing tensions in Europe today.

Glass sheets resembling crumpled up pieces of paper carry some of their messages in an attempt to seek answers for the lack of mass unrest from NGOs and peace activists.

The material further reinforces the fragile state of the value behind what is written.

We design and produce custom stained glass works for both modern and traditional spaces — from sacred architecture and residential windows to restoration projects and artistic installations.

Each piece is handcrafted using time-honored techniques, combining light, color, and narrative to transform any environment.

Street art, such as graffiti, exercises the freedom of expression perhaps more than any other form of art. It's not surprising that the streets have become a medium for the expression of powerful comments on social and political issues. Much of the street art is a result of criticism towards institutions and government policies, which are seen as culprits for the crises in society. The ability to utilise the power of street art gives people the opportunity to speak on behalf of the general public. Street art empowers the oppressed and acts as a testament of the collective voice.

The work consists of three spray cans, which are made from transparent glass and are loaded with non-lethal bullets. The bullets serve as a metaphor for the potential of art being a weapon defending the freedom of expression and speech, thus implying the direct role street art can play in the political changes within a society. On one side, the transparency of glass reveals the bullets inside the cans, and on the other, it makes a reference to the great danger of losing transparency in democratic processes.