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A com­bi­na­tion of art and func­tion – that de­scribes the in­tri­cate prod­ucts by this glass artist.

A com­bi­na­tion of art and func­tion – that’s the best way to de­scribe the in­tri­cate prod­ucts that glass artist Nathalie Ziegler Pasqua cre­ates.

Born in Paris, France, this 48-year-old dancer-turned-sculp­tor spe­cialises in blown glass. She carves out beau­ti­ful glass light­ing de­signs that have been ex­hib­ited in­ter­na­tion­ally at var­i­ous art mu­se­ums and gal­leries in France, New York, Los An­gles, San Francisco, Lon­don, Bangkok and Hong Kong. Of­ten in­spired by oral and fauna, the glass lights also go through a sil­ver­ing process, which re­sults in the pieces shim­mer­ing when il­lu­mi­nated, cre­at­ing a mes­meris­ing piece of art.

What got you in­ter­ested in work­ing with glass?

It’s a love story that started in my child­hood. My early mem­o­ries are of me play­ing with sand on the beach and be­ing mes­merised by the shim­mer­ing light on the grains of sand. That pow­er­ful im­age of the light stayed with me ever since and it evolved into a passion. I nd this im­agery reected in the process of work­ing with glass. What is truly mag­i­cal, and al­most sa­cred with glass, is that it comes alive when light falls on it. In this re­spect, I com­pare my fas­ci­na­tion with glass with that for stage per­for­mances, in how light makes a play come alive.

How do you take ad­van­tage of light to en­hance the ma­te­ri­al­ity of glass?

Light makes glass icker, glow and shine. It guides me through­out my cre­ations.

What are the chal­lenges work­ing with this ma­te­rial?

The shape it­self is a chal­lenge. Imag­ine work­ing on a 12m-long piece and try­ing to nd the best bal­ance. Other chal­leng­ing sce­nar­ios in­clude trans­lat­ing my ideas of cer­tain de­signs into glass, such as a vel­vety cloud­like im­pres­sion, or de­sign­ing birds and snakes in mys­te­ri­ous, artis­tic im­pres­sions. I also work on par­tic­u­lar sil­ver­ing tech­niques, which can get very chal­leng­ing, but those also al­low me to evolve and rein­vent my­self con­stantly. I be­lieve there is no real limit to what can be achieved.

What in­spires you when de­sign­ing a glass art­work or light­ing?

My in­spi­ra­tion comes from mul­ti­ple sources – a per­son, place, ower, glass colour, paint­ing, mu­sic and even dance.

Many of the pieces you de­sign are in­spired by flow­ers. Why do you grav­i­tate to­wards flora?

I’ve always loved ow­ers. I’m at­tracted to them for their stun­ning beauty and they make me con­tem­pla­tive.

Which de­signer is your greatest in­spi­ra­tion?

This is a dif­fi­cult ques­tion as many in­spire me but, with re­spect to light, the artist who in­spires me the most is Ingo Mau­rer. He can trans­form the am­bi­ence of any room just by us­ing play­ful light in­stal­la­tions. His sense of hu­mour and po­etic ar­tic­u­la­tion are as­ton­ish­ing.

What ad­vice do you have for home­own­ers who are choos­ing light­ing fix­tures for their home?

It’s a very per­sonal choice, like bring­ing a bit of magic into your home. Day light is fan­tas­tic but warm light can give you the op­por­tu­nity to cre­ate a par­tic­u­lar am­bi­ence.

What are you cur­rently work­ing on?

I’m cre­at­ing a sus­pen­sion lamp for the bridal room of a world-class jew­eller, lo­cated in one of the most ma­jes­tic squares in Paris. Nathalie Ziegler Pasqua’s glass light­ing col­lec­tion re­tails at Af­flu­ency Mai­son, www. myaf­flu­ency. com.

As part of the Or­ganique col­lec­tion, Nathalie de­signed this chan­de­lier in­spired by the im­agery of but­ter­flies danc­ing in the sky.

TOP Nathalie’s cre­ations have been show­cased in gal­leries and lux­u­ri­ous prop­er­ties around the world.

ABOVE For the Fleurs Lu­miere col­lec­tion, Nathalie chose to work with coloured glass to cre­ate a multi-faceted, three-di­men­sional light­ing de­sign.

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