City Fragment

– before and after firing

Element from the collection Industrial,

workingly called "a hole in the asphalt" 😏 but don't be fooled – it's not a defect, it's the focal point of the composition.

In the first photo: before firing, a tattered black base, on which fragments of dichroic resemble scattered pieces of metal, glass, and light. The whole is covered with a thin layer of powder, still matte, still uncertain.

In the second photo: after firing – everything melts, bends, and fuses.

Color explodes, and the black background becomes a smooth, shiny surface reminiscent of asphalt after rain – wet and gleaming.

Dichroic comes alive like neon reflections on a damp sidewalk.

This element is still waiting for a copper and tin setting – raw, textured, which will complement the industrial character of the whole.

It will look heavy, but surprisingly comfortable to wear.

This is not a hole. It’s a place through which you can look deeper.

Heart of the Volcano – before firing

Here, everything is still waiting for the fire's decision.

The photo shows a cabochon just before firing – carefully arranged tiny pieces of glass in shades of red, burgundy, amber, and yellow create a raw composition that will soon transform into a uniform, molten mass. The structure of the frits is still visible, sharp edges, a light dust of powder – all this moment in between – when everything can still change.

This is the most beautiful stage of the process: planned chaos, controlled unknowns. Then comes the fire... and nothing goes back to the starting point.

How Fused Glow Jewelry is Created

Every piece of jewelry that makes it into one of my collections starts with an idea – sometimes a sketch, sometimes a specific color, and sometimes… simply a mood.

I don’t create in bulk or randomly – each collection has its own rhythm, character, and unique visual language.

I primarily work with glass – a material that does not forgive haste. I love exploring its various forms: subtlesmooth surfaces,unpredictable, textured finishes and incredibly painterlygradient glassWissmach, which reacts to fire like canvas to paint.

I enrich the compositions with fragments of dichroic glass, frit, powders, and sometimes grains of light from Spectrum – everything to achieve an effect that cannot be replicated.

After firing, it’s time for framing – here too, I don’t stick to one form: sometimes it’s raw, organic structures made of copper or tin, other times delicate, minimalist handles or surgical steel in the form of gentle shapes that only highlight the glass without dulling its light. Some works I patina, others I polish to a high sheen – it all depends on what the glass itself suggests.

In this section, you will find fragments of the creative process – photos, details, sometimes something completely random that occurred along the way, and sometimes exceptional moments when the glass "surprised" me more than I expected.

Every piece you see here has its own story – and I’m happy to share it.