My work is an act of defiance disguised as decoration. In response to moments of struggle, I choose play — not as escape, but as resistance. I force play into the vocabulary of luxury: leopard print martini glasses, precision-blown objects that borrow the authority of fine craft to smuggle unseriousness into serious rooms. The technical rigor of my work buys credibility I then use in service of goofiness.

 

Embedded within the lightheartedness are moments of vulnerability. Working in the Ariel technique, I suspend silhouetted figures inside the glass itself. Though mostly ecstatic and upbeat, a few are contorted, sometimes fearful, and caught mid-struggle, as happens to me, too. 

 

My approach is rooted in mining, preserving, and reinventing techniques developed at Orrefors and other Swedish glass houses. I treat that inheritance not as a fixed structure but as a mechanism to work as both storyteller and disruptor.