Translating Nature’s Beauty into Glass
Sculptor and designer Lucie Claudia Podrabska’s work is dedicated to preserving memories and capturing the ephemeral beauty of Nature through exquisite glass and paper mache objects. With a deep appreciation for craftsmanship and a commitment to sustainability, Lucie creates pieces that are both visually captivating and emotionally resonant. She embarks us on an inspiring journey through rich cultural heritage and natural splendor of Bohemia.
Nestled amidst the serene beauty of the Bohemian forest, your studio serves as a sanctuary for your creative spirit, where inspiration blossoms and transforms into tangible masterpieces. Please tell us more about yourself.
I was born in Buenos Aires to Czech parents and my two studios are a harmonious convergence of my two worlds, where my creativity is molded into my work. With one studio placed in a vineyard on the outskirts of Lisbon and the other near the Bohemian forest in the Czech republic. I am a sculptor, a designer of glass objects and I create space narratives.
My professional trajectory, initially anchored in hospitality management was composed of creative consultancy for brands and businesses. My path to artistic self- discovery was not instant but a blossoming revelation that unfolded after the profound experience of motherhood. I scooped up my courage and delved into this world entirely in the summer of 2023. Today I narrate spaces and give them depth through objects of glass that I design and sculptures that i make. When I sculpt, I use trash as my medium to create paper mache mobiles and sculptures.
As a descendant of a lineage of glassblowers, your passion for this art form undoubtedly runs deep. Could you share with us the genesis of your fascination with glass? When did you first embark on this journey, and what ignited your passion for transforming molten glass into enchanting creations?
I was first enamoured with the art of glassmaking during a childhood visit to a glasshouse in Bohemia, where skilled artisans crafted mesmerising objects of glass and allowed us to participate in the process too. It was on that school trip that I really noticed and acknowledged glass, its potential rather than just an omni-present material in our day-to-day. I vividly recall the moment when I purchased a glass paperweight in the shape of an apple in the gift store with a peach ice tea — a memory etched in my mind, more meaningful than i would have ever known.
It’s really interesting actually, every time I express my passion for the glassmaking craft in the Czech republic, I’m met with a raised eyebrow, perplexed look and slight frown. It’s an unglamorous craft, unfairly perceived as an ordinary job like working at the post office or driving a bus. As a glassblower you wouldn’t be recognized as a painter or sculptor might. Further, it holds a profound significance in the Czech Republic as any form of creative expression was banned during communism (1948- 1989), and glassmaking was heavily censored. The constraints imposed during this period limited the artistic freedom of glassmakers, turning their exquisite craft into a form of silent rebellion against creative suppression. In 1989 when the communist rule came to an end, the Czech glass artists were reborn with a creative expression anew.
“My designs are motivated by a deeply-rooted determination to preserve memories.”
In the serendipitous tapestry of my creative evolution, a chance encounter with a set of vintage Murano flowers in the brocante of Lille became a transformative catalyst. I gave birth to my son earlier that year, receiving many flowers from family and friends afar, welcoming my son earthside however my heart shrank when i had to throw the flowers away after they wilted. The fleeting beauty of flowers, thoughtful gifts from distant friends, faded too quickly with my accomplishment and milestone achieved but no physical memory of it in sight.
That’s when I knew I have to work with glass to create an object of eternal celebration in the form of flowers. I wanted to make the fleeting moments we want to remember more permanent using a medium we fully oversee in our day-to-day. The glass vessel we drink from serves us, the glass windows shields us and give us perspective, mirrors reflect, yet we don’t realise that its ordinary yet extraordinary nature resonates with profound symbolism.
Your artistic process, we imagine, is as meticulous as it is mesmerizing. Could you shed light on the intricate steps involved in crafting your pieces? From the selection of the purest glass to the delicate manipulation of flames, we are captivated by the artistry behind each piece.
I have spent so much precious time building my team of artisanal glassmakers and in consequence lots of time in their presence to witness and observe this meticulous craft unravel and form irresistible objects of glass. When I visit, I also partake in the making of these objects which is so incredibly hard and meticulous. I work together with a father-son studio that’s quite literally located in the garage of their home where they have their atelier and furnace. Its an incredibly raw setting thats quite old school. They blow their objects of glass, it’s hot and they smoke cigarettes whilst handling different forms and matters of glass.
I design my objects and spend many weeks if not months perfecting the design with Petr, my glassmaker. After many samples and experiments, we had the optimal flower. My objects are made-to-order to ensure there’s no over production.
Could you elaborate on the sources of the precious materials you use in your artworks? Does the artisanal technique, with its emphasis on mouth-blown and hand- made craftsmanship, hold a special significance for you?
The basic components used in traditional glassmaking are silica (sand), soda ash, and limestone, which together form a type of glass known as soda-lime glass. The finished object can vary in shades and hues, often smokey. It also has air bubbles and imperfections due to its artisanal nature.
I am often met with the question as to how i will scale my floral dream. Scaling is very challenging with artisanal work, it would mean mass-production and not only the dilution of quality but also going against my beliefs and principles. With my designs I am able to work together hand-in-hand with glassmakers, to learn, to observe, to do and to also keep their precious ability and art alive. In a world so detached, disconnected and overindulgent in consumerism, it is really important for me to educate the collector or customer, to bring knowledge and attention to the glassmaking industry and what it entails.
Your studio, nestled amidst the verdant embrace of the Bohemian forest, undoubtedly serves as a muse for your artistry. Could you paint us a vivid picture of this haven of creativity, where inspiration intertwines with nature’s symphony?
My home in the Czech republic is snuggled up next to a forest so I feel deeply connected to that specific type of ecosystem. At the end of every Spring, I would travel around the country side with my grandparents to go mushroom foraging and picking, equipped with our pocket knife and hand-woven wooden basket. Mushroom picking really is a national sport. It was my favorite activity in the entire world growing up and connected me profoundly to forests and their webbed world of fungi and the wonders that happen within, of which we are blissfully unaware. Nature is my biggest teacher with the organisms that flourish and grow within it.
Your homeland is renowned for its rich cultural heritage and natural splendor. Does this idyllic setting serve as a source of inspiration for your creations? How does the beauty of your surroundings manifest itself in the intricate details and delicate forms of your glassware?
I am living between Prague and Lisbon which allows me to appreciate both backdrops and get inspired by the juxtaposition of the two and their differences.
I am deeply inspired by Czech folklore and fairytales. These stories often feature water spirits and protectors of the forest, guards of the woods and its inhabitants. The illustrations that would accompany these stories are much whimsical, magical and slightly bizzare. The scenery of my surroundings in combination with story tales are my largest source of inspiration. That and view of the world that my almost three year old son has.
“My wine goblet collection is heavily inspired by the middle ages, dating back to the 14th century. In the medieval days, wine goblets were not just vessels for holding liquids; they held ceremonial significance. Goblets were often used in religious rituals, feasts, and important gatherings and some goblets were adorned with applied decorations, such as glass trails or small blobs of glass. These embellishments not only served the aesthetic purpose of looking divine but also provided additional grip when eating greasy foods with your hands.”
The delicate petals and vibrant hues of flowers have captivated artists for centuries. What is it about flowers that holds such a profound fascination for you? How do you translate the ephemeral beauty of nature’s artistry into the enduring permanence of glass?
“The complexity of nature, specifically flora, holds a profound fascination and great inspiration in the work that I do. I am captivated by the hues and colors and also intricate shapes that spring up in our ecosystems in the form of greenery and flowers.”
Humans are so talented and create wonderful things but it seems to me like mother nature is always a little step ahead and has it figured out long ago. There’s nothing you can compare to an olive tree thats been growing for over 2000 years or a rose. It’s smell, shape, petals, spines and waxy leaves. Mother Nature does it best, but it’s also very impermanent. I wanted to translate and mirror it’s beauty into something that will last forever*
*glass is also impermanent as it is fragile however if handled with care, it can last generations.
That is why I wanted to cascade natures beauty into the permanence of glass, to make fleeting moments and celebrations like a birthday or a promotion or the expression of love to last forever.
We love the fact every piece is unique, this makes it so precious! Could you share with us the time-consuming process of crafting a single flower and a goblet? The patience and dedication required to achieve such perfection are deeply admirable.
Glass is special because it’s forgiving yet fragile which creates a magical material as an artistic base and medium. The entire process takes about 14 days and this includes all phases from:
1. The preparation of the raw material.
2. Melting it in a furnace.
3. Forming the glass and giving it shape using a blowpipe.
4. Cooling in annealing oven, a controlled cooling process to help relieve stresses in glass.
5. Shaping and finishing, ensuring the glass is polished, shaped and even.
When it comes to the formation of the glass, the glassmaker can craft maybe 3 goblets in an hour depending on their intricacy or six flowers. The beautiful thing about glassmaking is that it frequently requires a team of two or more as handling glass alone can be challenging and often dangerous. It requires synchronicity and collaboration which made me fall in love with the craft even more. Pottery for example is beautiful but you can do it alone, not glass, for that you need a team/clan/wolf pack.
The flowers are made entirely freehand without the use of traditional moulds which means that each flower has its own individual character. The goblets are made using forms for the base and they are adorned freehand also giving them a personality of their own, sometimes wonky and wonderfully so.
What are you currently working on?
I am working on a collection of decorative tableware like flower candleholders and napkin rings launching in spring.
In parallel to my glassware, I sculpt and work with paper-mache that’s made entirely from trash as my creative medium. This too inspired by fairytales and whimsy, my sculptures invite the observer to connect with their inner child and nourish their playfulness and imagination through colour and whimsy. Dually also challenging the viewer to rethink their relationship with waste and consumerism. Made from trash, one sculpture made from 2 weeks of paper and plastic waste from a family of 3.
Paper mache as a medium is often considered as a “do it yourself” craft material thats looked down upon in the art world as opposed to a large canvas or sculptures made from marble or bronze. I wanted to challenge this and ask questions as to why? why do we consume so much? are we conscious of all the waste we generate?
As we conclude this interview, is there anything you’d like to add?
I deeply appreciate the work you both do, thank you putting your vision, philosophy and admiration out into the world, I am grateful to have met two inspiring women in this creative industry. Thank you for your vision.
More about Lucie’s art on lucieclaudia.com and shop
@thelucieclaudia
