An in-depth interview with contemporary glass artist Anna Alsina Bardagí about her journey into the world of glass art. Below is an English transcript of the original interview published in Catalan.
“Patience is the mother of science, but also of art”
Through her sculptures made of optical glass, Anna Alsina Bardagí explores light and gravity.
Anna Alsina Bardagí delves into the interplay of light and gravity through her sculptures crafted with optical glass. Using experimental techniques, combined with her knowledge of physics and chemistry, she manipulates the internal structures of glass and pushes the boundaries of dimensional spaces. Born and raised in Begur, the Baix Empordà region, Alsina has lived in Barcelona for years. After studying Communication and Journalism at the Autonomous University of Barcelona and working as a reporter and science communication manager, she transitioned into art. Her works have been exhibited in galleries, museums, and artistic institutions worldwide, including the United States, Andorra, Belgium, France, Switzerland, and Japan. Her sculptures are also featured in several private collections. Deeply passionate about physics and the universe, she exclusively uses eco-friendly optical glass, free of lead and arsenic, in her creations.
Each optical glass sculpture is a unique creation that takes months to complete, involving various stages and techniques, from conceptualizing the idea to crafting molds.
“The process I use to create my optical glass sculptures is based on the ‘casting’ technique and involves seven stages. Each piece begins with conceptualization, aimed at crafting forms that convey an interaction between light and matter. Once I land on an inspiring idea, I often shape the initial prototype in clay. The next step is creating a refractory mold to encase the modeled form. Once the material dries, I destroy the clay prototype inside, leaving a hollow cavity where I introduce the glass that will later be melted at 850°C.
The firing process varies depending on the sculpture’s size but usually takes up to two weeks. When it comes out of the kiln, the piece looks like an opaque block of ice, concealing its interior. The process is filled with intrigue and magic: the unique properties of optical glass only come to life during the final polishing stage, which breathes life into the sculpture after weeks of meticulous creation.”
How do you achieve those internal effects in the sculptures?
“At exhibitions, a common question I’m asked is: ‘How did you create the abstract forms floating inside the piece?’ The internal effects are the result of mathematical calculations, various cutting and treatment techniques applied to the glass before melting it, and weeks of polishing to achieve the material’s optical transparency. It’s a carefully planned process, like a dance between technique, the properties of optical glass, and the material’s interaction with light and space.
“For me, nature is a constant source of inspiration. Physical and natural phenomena captivate me because they connect the visible world with the invisible forces driving it.”
What have you learned from working with glass?
“Working with glass teaches you patience and respect for the material. You learn when to inject creativity and when to let the glass play its part. It’s taught me to value every stage of the process, understanding that the success of a piece depends on the sum of its details and that rushing is never wise. I’ve also learned that trying to control the outcome entirely isn’t always the most original path. This aspect is liberating: viewing each sculpture as a dialogue where I bring intention, but the glass, with its optical properties, adds its own voice beyond human creativity.”
Your sculptures transform with light and perspective. Is this intentional?
“Absolutely. This effect is the core of my work. Each sculpture contains optical illusions that interact with light, shifting and transforming based on the viewer’s angle. Every piece is designed to have multiple ‘layers’ that only reveal themselves with changes in light or perspective. It’s an interactive game I intentionally pursue: I want each piece to present itself differently every time, inviting the observer to discover new forms as if the sculpture is in constant evolution.”
Your works reference physical, terrestrial, and atmospheric phenomena—like Eclipse, Meridian, Axis, Mantle, Magma, Collision. How do you find inspiration?
“Nature is my perpetual inspiration. Physical and natural phenomena captivate me because they bridge the visible world and the invisible forces driving it. I’m also fascinated by the idea that a large portion of the universe consists of dark energy, which scientists are still striving to understand. As the astronomer Carl Sagan once said, Earth is a small blue dot in the vastness of the cosmos. This sense of intrigue and the immensity of the universe drive me to capture fragments in glass, encouraging viewers to unlock their imagination.”
Have you considered using color in your creations?
“When I began working with glass in 2011, I experimented with color for a while, but in 2014, I chose to work exclusively with transparent optical glass from the Japanese company Ohara. I love its purity—it’s free of lead and arsenic—and its ability to transmit natural light. The optical glass I use even has a cosmic connection: it was part of the Apollo 11 mission to the moon in 1969! This material’s purity not only enables scientists and astronomers to explore the universe with remarkable precision but also helps us probe its deepest nature.”
“Accepting failure is an opportunity to learn and explore new creative paths that allow me to grow as an artist.”
Your sculptures go through a firing process that lasts over two weeks, with a 14-stage temperature control system to ensure even cooling. Afterward, they are polished through multiple steps to achieve full transparency. Could you explain how this works?
“That’s right. It’s a long and complex process, but it’s essential for the durability and clarity of the glass. Each stage of the firing process serves a specific purpose and is designed to prevent internal fractures. This is why every piece undergoes a strict temperature control system to ensure uniform cooling. This step is critical—if the cooling phase is rushed, the sculpture could crack.
We know this because some glass artworks from centuries ago, created with less advanced techniques, have developed cracks over time due to incomplete annealing. Once the firing process is complete, the sculptures are polished over several weeks using different grades of silicon carbide. This part of the process is intriguing because the abstract forms inside the piece remain hidden until the polishing is finished. The final touch involves cerium oxide, which is almost magical—it transforms the glass from semi-opaque to completely transparent within hours.”
You’ve mentioned embracing failure is a vital part of your artistic journey. How do you cope when, for instance, a sculpture breaks during the final polishing stage?
“It’s always challenging, but I believe frustration is a necessary part of the creative process, especially when working with a demanding material such as optical glass. It doesn’t forgive even the smallest mistake. Accepting failure is an opportunity to learn and explore new creative paths that allow me to grow as an artist.”
You don’t have formal training in art or any related field. What sparked your interest in glass sculpture, and how did you learn the craft?
“My interest in glass developed after years of working professionally in the field of communications. Since I was a child, I’ve been fascinated by crafts, and art was always something I felt I had left unfinished. When I decided to explore glasswork, there were no formal training options available in Catalonia anymore—the Barcelona Glass Center Foundation had closed years earlier.
I was fortunate to find two Catalan artists, Quim and Txell, who had studied at that foundation. They taught me the basics of making molds with window glass. From there, I began a three-year journey of self-taught experimentation with optical glass, culminating in creating my own pieces. Eventually, I sold my first sculpture to a collector in San Francisco, which was a pivotal moment in my artistic career.”
Do you think artistic skills should be more widely promoted and connected to science?
“Absolutely. Art and science are two ways of viewing the world that complement each other. I’m fascinated by how science can inspire art and how art, in turn, can help people understand scientific concepts. I believe education should encourage more of this dialogue because it offers a more complete understanding of the world.”
Artistic sculpture tends to focus on materials like clay or plaster. Do you think this dynamic needs to change?
“Traditional materials like clay, plaster, or stone are more focused on external shapes, while glass can create entire worlds within, thanks to its transparency and relationship with light. It’s a material that offers a very different artistic dimension. I’d love to see glass used more in sculpture because it offers immense expressive possibilities.”
From your recent exhibitions, it seems you have more international recognition than national. Has it been difficult to establish your place in the art world?
“At the beginning, it was challenging because when I started my journey in glass art, I hardly knew anyone working in this field in Barcelona. Abroad, there is more tradition and recognition of glass sculpture. I’ve exhibited my work in countries like the United States, France, Switzerland, Belgium, and Andorra, and it’s always fascinating to meet glass enthusiasts from different cultures.”
Will we ever see an extensive exhibition of your work in Barcelona or the Empordà, where you grew up?
“That’s one of my dreams. Being able to exhibit in Barcelona or the Empordà would be a very special homecoming — although last year I did have the opportunity to showcase my work in a group exhibition of Catalan glass artists at the Sitges Museum, Atrapar la luz. Miradas al vidrio catalán contemporáneo (Capturing the Light: Views on Contemporary Catalan Glass). And, to dream even bigger, I hope that one day Catalonia will have a contemporary glass museum like the one in Madrid, where I recently exhibited my work, that collects pieces by Catalan artists.”
There are several renowned glass associations. How do you become part of these associations, and what do they offer you?
“In Catalonia, we have the Associació Catalana de les Arts en Vidre (ACAV), which does a great job of promoting glass as an artistic material and recognizing the work of all the artisans and professional artists working in this field. I’m also part of glass associations in the United States and the United Kingdom. Being part of these organizations is an honor and an opportunity to connect with other artists, collectors, and glass enthusiasts. They help us share knowledge and foster greater respect and interest in the material.”
How long does it take to create a piece?
“I often joke that I should have chosen blown glass because, while it’s also challenging and technically demanding, it’s much faster than casting optical glass. Depending on the piece, it usually takes me three to five months from conception to the final polishing stage. One thing glass has taught me is that patience is the mother of science—and art.”