The Irony Found in Glassblowing
Contemporary style meets century old techniques in a journey from Venice to the USA. Interview with Simone Crestani
by Giulia Zappa
Glass octopus climbing up plates and centerpieces, glass chickens hanging head down straight from the butcher’s shop… Simone Crestani is surrounded by peculiar glass objects and creates a natural world that ignites both stupor and surprise. The young glassmith unveils his passion for glass and his tenacity in learning the century old techniques of glassblowing from his studio in the small town of Marostica, Venice. The place he lives in between his travels to the States and the European capitals.
ARTEMEST: How did you become passionate about glass ?
A: How was your apprenticeship with Maestro Massimo Lunardon: what kind of a life does a student glassblower have?
A: How long does it take to learn the craft, and when do you know you can do it on your own?
A: Could you give us some examples of techniques or explain some you prefer?
A: Your relationship with Venice?
A: You are now expanding your experience abroad, especially to the States where you also teach at the Corning Museum of Glass, in New York. How do you generate interest in your American students, and how is their approach to glass?
About the author Giulia Zappa is an Italian journalist and Professor of Design Communication and Strategy. She is the editor in chief of the contemporary art magazine Artribune.