My creative process follows an inverted spiral movement, continuously rising and expanding from a foundation of three interconnected relationships: between myself (‘I’) and others, I and the world, and others and the world. At the center of this triangular framework lies my artwork, primarily expressed through glassblowing. Through this medium, I explore the dynamic interactions between these three elements—others, the world, and myself as a creator—as well as the connections between the artwork and each of these elements. Furthermore, the artwork itself serves as a bridge between them.

My practice is both experimental and deeply rooted in glassmaking traditions, forming a vital link to cultural sustainability. In today’s virtually dominated and chaotic world, I view materiality and hands-on craftsmanship as essential spaces of well-being. My work in glass engages with light, movement, and sound, weaving these elements together into immersive experiences.

My artworks seek to enhance the sensory engagement of others, appealing to sight, sound, and touch. They invite active participation, both in relation to individual objects and in larger installations.

The world—the broader context in which my work exists—connects to human imagination, allowing us to relate to the immediate present while also reaching into the past and envisioning possible futures.

My close interaction with raw materials and fire—the primary energy source in culture—encourages me to “let the glass surprise me.” Embracing material and aesthetic discoveries, I welcome randomness and a certain surrender of control, leading to new explorations in expected and unexpected directions. Within the unified aesthetic of glass, I seek diversity by combining different types of glass, incorporating non-glass materials, or working with murrini. Each component transforms individually yet remains an integral part of the whole.