The Technique I use in my work is called Light Painting. It was developed by Narciso Quagliata 5 years ago. He created pieces such as The Door of the night (exhibited at the “Palazzo Ducale”). He used frits (finely ground glass) & glass wire for abstract Work, Human Figures and Nature Themes. After learning from Mr. Quagliata, I decided to apply the same method for Landscapes using the instruments as if they were real watercolors. Actually, they are “micro-mosaics” made by sequential kiln fusing processes.

I adhere to the following sequence. First I choose the setting, always a real place to which I am emotionally attached. I take photographs of the site in different seasons, under a variety of lights and views and with different frames of mind. Then I combine the images on a Bullseye glass sheet. This an American company (Oregon State). The Bullseye Glass has a wide range of colors, compatible with each other. I then build the landscape with small pieces of glass frits and wire. When I finish with the first layer, I Ieave the piece in the furnace at a temperature of 800°C. I repeat this procedure over and over till the piece acquires the right color intensity. Imagine that a two  millimeter green color spot does not show its real color until it reaches an optimal thickness. I then heat the piece in the furnace several times in order to give it optical depth. This means that I add colorless glass of different thickness by starting from the side that must have the furthest perspective, and gradually, increasingly bigger glass sheets according to the distance (depth) I want to achieve. In my most recent work I usually melt a thick (6mm)  sheet of glass over the entire surface of the piece.

Each of my pieces is heated in the furnace at least seven times. With each heating, the process becomes more delicate. With the increased thickness of the glass, the risk for breakage increases. In addition to this difficulty in re heating it, the cooling off must be strictly controlled to avoid permanent tensions in the glass.