Why did you choose to work with glass?
I think it was because of colour. Initially, I was drawn to bright transparent colour combinations, but later on, I looked at how form affects hue in transparent objects. I now mostly use a single colour in one sculpture, but there will be different hues anyway, because of variations in thickness.
How do you conceive your creations?
I take a lot of photos of landscape, water, plants and sometimes I have objects (such as a toy balancing bird) or models symbolising ideas and concepts sitting around in my studio. My actual forms are mostly worked out through the making: it takes me a while to develop a new form or body of work.
When is an object well made?
When it’s made with great care, paying attention to form and surface finish, making sure there are no scratches or marks. But it does not mean perfect - handmade objects are rarely perfect, and I think small imperfections are part of the process.
Does your craft have a long tradition?
Glass casting at my scale does not have a long tradition. Large glass casting was developed from the 1960s onwards by Stanislav Libensky and Jaroslava Brychtova, with the help of Czech glass factories. I work within the formalist tradition that they pioneered.