In the composition “On the Beach”, I aimed to evoke a sense of calm and contemplation.
The simple form of the reclining female figures, combined with the subtle tones of antique glass—free from any discoloration—creates an atmosphere of stillness and pause. The addition of LED backlighting brought an extra layer of meaning: during the day, the work appears as an image crafted in the technique of bonded glass; in the evening, it transforms into an ambient light source, subtly illuminating the interior.

The idea behind this lighting piece was inspired by my oil painting “Kneeling Women.” I replaced oil paint with stained glass, using a technique that is perfect for creating luminous, three-dimensional forms. The combination of glass and polished copper results in an effect of exclusive, high-end lighting.

The presented piece is part of the “Space” series. Through the posture of the figure’s body, I wanted to emphasize the process of withdrawal that arises as a result of experienced trauma. Trauma is imprinted in the body—in the muscles—which “remember” either a sudden, emotionally charged event or a slow process leading to emotional disintegration.

The presented piece is part of the “Space” series. Through the posture of the figure, I aimed to highlight the natural human ability to enter a state of contemplation and stillness.

I believe that stained glass design follows a different set of rules than other visual arts. The idea that forms in the mind can’t be directly transferred onto a draft—because the success of the piece depends, to a large extent, on the glass itself: its hue, its texture. It’s the material that guides the maker, suggesting what kind of motif it might be the foundation for. This is a kind of magic. It’s like walking into a forest, finding a fallen tree trunk, pressing your ear against it and trying to hear what it wants to become—a piece of furniture waiting to be revealed.