What problems arise making large scale sculptures?
Even though I always make small scale trials with two types of raw glass I want to combine, the final melting can turn out incompatible. The disaster is that you only discover the inner tension whilst grinding the sculpture. Another disaster is when the supply of electricity is cut during the cooling process.
Why did you choose a remote place for your workshop?
I used to make sculptures in factories, but I wanted to experiment myself and learn from my own mistakes. So, I rebuilt a 200 year-old pothouse. Where billiards were played is my atelier, in the basement is my modelling studio and in the beer-cellar is the melting area.
Johana Posova©Michelangelo Foundation
What are your sources of inspiration?
Perfect forms such as honeycomb, a snail shell or soft organic materials like branches or hay. Also everyday items rope or coffee pots, I enhance by enlarging the scale and transposing it into heavy lead glass.
Why do you work with contrasts?
I like to examine the contrasts between perfect transparency and the various degrees of opaqueness, between the regularity of a cut grid and the randomness of the inner structures. The shades of colour gradually change with the thickness of the glass mass and the amount of light.