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Info
Mini introduction on who you are, where you are from and what you do.
I am a glass artist and designer born in Guatemala City, based in Portugal since 2013. I started my glass journey at Pilchuck Glass School in 2012. I got immediately passionate about glass and the processes to transform it. Later I enrolled in a master’s program at Vicarte, and since then I have dedicated my professional practice to this material. In 2022 I opened Lo-Invisible Studio, a glass studio in Lisbon.
Lo-Invisible Studio is dedicated to the production of commissioned glass pieces in the field of art and design. It is also a space open for the sharing and exchange of knowledge related to crafts and making, through conversations; collaborations; workshops; as well as hosting visiting artists. Lo-Invisible Studio welcomes people from all ages and backgrounds.
What makes you passionate about your craft/profession?
Glass is a complex and humbling material and has its own rules. It is necessary to accept the pace in which glass reveals itself, in an individual way, to each aspiring glass maker. Yet, the duality intrinsic to its nature is often a metaphor for life. I find glass to be a very honest material – one that is not easy to domesticate, and simply breaks under pressure. It teaches me constantly about life, about human relationships, about the interaction of energy and matter and other phenomena, and about our strengths and fragilities as individuals. It has taught me how to better deal with uncertainty and become a problem solver. I am passionate about the ever-growing experience of learning how to transform glass, but also how it has transformed me over the years.
Why does craft matter?
Craft practices urge us to reflect on the relationship between material and human activities, as well as the significance in the perpetuation of immaterial heritage. It also promotes the encounter of individuals around creation and experimentation with material: actions that entail the sharing of tradition and knowledge. I personally believe that craft/making is a tool that allows us to contemplate and question society. It also enables us to imagine an anti-hierarchical and sustainable future, whilst appreciating resources, stories and processes that surround us.
Craft practices urge us to reflect on the relationship between material and human activities, as well as the significance in the perpetuation of immaterial heritage. It also promotes the encounter of individuals around creation and experimentation with material: actions that entail the sharing of tradition and knowledge. I personally believe that craft/making is a tool that allows us to contemplate and question society. It also enables us to imagine an anti-hierarchical and sustainable future, whilst appreciating resources, stories and processes that surround us.