Artist

We have been working together for forty years.

There’s no distinction really between an idea and its manner of expression. The two are joined at the hip. It’s a marriage contract, for better or worse. Music is made from an instrument, even as the idea flows from the human mind. The quality of the instrument .....

We have been working together for forty years.

There’s no distinction really between an idea and its manner of expression. The two are joined at the hip. It’s a marriage contract, for better or worse. Music is made from an instrument, even as the idea flows from the human mind. The quality of the instrument counts, as Stradivarius knew. And while Mozart’s notes are the same in 1775 as in 2010, the sound won’t be, and its ability to transform and move depends both on individual interpretation and virtuosity of manipulation.

Likewise, good writing is as much about craftsmanship and a sense of language as the ideas forming the words into a coherent expression. Roger Federer’s forehand, the choice of a shot, the quality of its delivery: art and craft, mind and body. In our own rather quaint, no doubt very 1960s way (levitating on Robert Pirsig’s “Zen and the Art of Motorcycle Maintenance”), this was the whole point of this trajectory, to do something that allowed mind and body to merge in intention.

We came to Italian cutting techniques because we felt we had discovered a new way to expand dramatically on what we were already doing – using sandblasting as a way to cut through layers of color to create new and originally inspired patterns and ideas. In a nutshell, this development also contained a neat autobiographical element. We learned our metier in Sweden where layering color through blown overlays (originally developed by Simon Gate for the Graal technique at Orrefors) was an “old” 20th-century process. If we used that same technique and applied Italian cutting, originally pioneered by Carlo Scarpa in the 1930s and 40s, we could open up a vast and expanding panorama of possibilities. And for the last fifteen years, that is what we have been doing.

Battuto is a style, a manner, a tool of expression. It allows an otherwise shiny glass surface to loose its shine, to gain an earthy, pithy texture, to acquire depth, a matte finish. Combined with layers of colored glass, cut through, it yields a whole new way to “paint” on glass. But the tool is never the expression itself.

It’s not the technique that speaks. The latter is more comparable to the key that opens the portal to the architect’s mysterious dream house. Rather it is the expression of color and light and texture and pattern and shape which it permits us to reveal which takes on meaning. And we pray this may be apparent in our work. Certain techniques, over time, become signature elements in an artist’s oeuvre. And this is true for us.

Thank you for joining us!

Thank you for celebrating the first annual

Glass Art Fair!

We are honored to that you have taken the time to join us in a celebration of art.
The artists in this exhibition are sharing their work from around the world.