Why do you love glass?
My family was involved in glassworking, I grew up influenced by their passion. Glass has the special beauty of transformation: you have to use fire, water, air to work it. It’s challenging, you have to respect it.
Who has been crucial in your career?
Aged 11, I worked with Archimede Seguso, but when I met Giovanni Ferro was the real turning point in my life. I was about 20. He was a great man, very patient, religious, not only a master. I understood from him that I had to experiment and find my own way.
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Do you feel a strong cultural tie with America?
Interactions between cultures are vital. I was touched by Pollock, Lloyd Wright, Moore, fascinated by the Native Americans, so close to the earth and nature, and inspired by their bright ceramics. Most importantly, in America you feel free and encouraged to experiment.
How do you envision the future of glass?
Learning glassblowing takes many years and it’s never over. Apprentices need to learn from more than one master and we need a market for important pieces. The protection of glass is also a social protection.