My other sides shows many very decorative lamps , here you can find someting about my working method; lamp ,glass, agate ,decorative art work,stone,crystals


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The speciality of my work


One wonders what makes these Tiffany-objects so special and new and of course so expensive except for the agate and the glass. The answer is: Tiffany forms the surfaces from models. Me on the other hand I construct without any leaning form and I therefore have to grind the glass pieces exactly. The first method does have the opportunity to produce on mass. My way of work appears to be lengthier, but therefore every artwork of mine is unique.

glass sheet the Lamp Blue Grotto made from; compare lamp picture below The fact that the glass plates which I use are neither of the same thickness nor of the same shape (as it is with window glass) does make the manufacturing a lot more difficult. Although the mismatches are only in the lowest mm range.

Without the grinding in mitres the width of the joints would double in size. The amendment of these mismatches means that one has to invest a lot of patience, accurate coordination and perfect eye sight into the production. On top of that a lot of the glasses are not homogeneous. Some of the glasses contain air bubbles and also the structured surface makes it difficult to cut the material in small stripes. Different hardness and width variation melted together appear to bring " bad surprises " when breaking the stripes.

Also the high risk of breaking the artwork the further procedure is very time-consuming. Glass stripes of a width of 20mm and a length of 600mm do break easier than small glass pieces of square shapes. So they have to be handled with special care. Finally the soldering does bear the risk of cracking the glass which makes the production the even more expensive.

Now you probably ask if there is not an easier way of producing these items as there is in the technique of Tiffany? The answer is NO. Tiffany could not manufacture continuous patterns because of the bend-crack. There is always a joint with a distance which appears to be missed in the pattern. Because of the continuous grain one gets an impression of a compact unique specimen. Otherwise they would be very defective. I also leave the agate to form its later corpus itself. It is not pressed into a standardized form. My variation of forms is delivered by the nature and my ability to form the agate.


lighted Lamp Blue Grotto, made out of the glass sheet shown above

The pattern of a unique glass pieces contains an agate slice. Out of two individual pieces of material I create one unique piece of art. Most times the two elements seem to be meant for each other. What I am trying to say is that it is worth the effort. The brief elegant forms and the handling of the colour effects create a timeless aesthetics. These objects are going to be modern for a very long time and are more than just a lamp.

The very difficult way of producing these lamps makes it almost impossible to create similar objects. In addition that most of the tools I work with are developed by me. Only licensed manufacturer would get proper instructions for the method of building up the perfect body, the diamond grind and absorbability.



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