In my work, I keep returning to the question of control over material — where it is possible, and where it ends.

With ceramics, this dialogue has largely taken shape. It is a material you can come to terms with. I understand how it behaves as a mass, how it responds to drying, firing, and glaze. There is room here for precise decisions: the form can be set, adjusted, held. The control is not absolute, but it is predictable.

With glass, the situation is fundamentally different. It is not about agreement, but about constant adaptation. In lampworking, everything happens in real time: temperature, viscosity, cooling rate — any fluctuation immediately changes the material’s behavior. Mistakes do not accumulate; they occur instantly and cannot be corrected afterward. In this sense, glass always demands a concession. It cannot be fully controlled — you have to work at the edge of its limits, and your own.

This is why I chose floral forms as a primary structure. It is not a decorative decision. Nature has no strict geometry, yet it has an internal logic of growth and organization. A form can be asymmetrical, shifted, “imperfect, ” and still be perceived as complete. This condition is important to me: when deviation does not destroy integrity, but forms it.

Working with material, I look for a similar balance. In ceramics — through a firmer control of form and work with surface. In glass — through accepting its fluidity, inertia, and tendency to deform. Some decisions I impose; others emerge as a trace of the process: overheating, the weight pulling the form down, incidental shifts. I do not fully eliminate these effects — I use them as part of the work.

As a result, the object does not emerge as a pre-designed form, but as the outcome of a specific interaction with the material. It is always a compromise between intention and the possibility of realizing it.

What matters to me is to fix that moment when control is still present, but already starting to fail. It is in this zone that the form becomes alive: it retains its structure, but carries the trace of the material’s resistance.