SATURNO ©︎LINO TAGLIAPIETRA

"A Memorable Handmade Beauty"  

  Mr. Satoshi Sato (Glass blower)

Satoshi Sato (S): The masterpiece that remains in my heart is the SATURNO series by Lino Tagliapietra, a modern master of glass blowing who has indirectly influenced glass blowers all over the world in one way or another. The SATURNO series is very famous in the glass art world, as it is a very large piece with a bulge in the middle and a ring around it like Saturn. I first learned about it shortly after I entered Toyama Institute of Glass Art. At the time, I had no idea how they were made, and I remember being shocked at how interesting the shapes were.      

 

At the time, I jumped from the field of architecture to enter the world of glass, and when I started blowing glass at school, I was in despair because I really couldn't do anything. I couldn't make a plain, ordinary cup. I was given about an hour and a half of blowing time in one class, but I couldn't make a single glass even in the entire time. At the time, I couldn't imagine being able to really make a cup, and I was worried about whether I would be able to make it in the future like this. That's when I found out about this work, and I felt the beauty of it, and like the name of the work, I felt that it was as far away as Saturn, and that I would never be able to reach it.    

 

In architecture and design, the ideas in your head are drawn up and then given shape by the builder, but when you try glass blowing yourself, the very thing you are making is stronger than the image in your head, and you are pulled in that direction while making it. I felt that many of the various glass works I was looking at at that time were made in such a way, but when I saw SATURNO series, there was not the slightest blur.  I also felt as if I was being shown that if I wanted to do something, I should do my best. This time, I introduced a work as a masterpiece that made me feel that way when I was just starting out.  

 

Mr. Lino is from a family that has been making Venetian glass since the 15th century, and he came to the U.S. He is now 86 years old, but he is still active in his craft. Venetian glass has a history of not being very open about its techniques, but he came to the U.S. to create free works and show and share his techniques by giving demonstrations and workshops around the world. And because he was born in a traditional family, he made many traditional goblets when he was young, and he whistles and whistles his way through them with the skills he inherited. Now that he is older, he has inherited all of these things, and inherited the culture, and he is developing his own work. For me, he is the person who gave me the opportunity to become more aware of the flow of culture and the meaning of inheritance. 

   

 

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SATURNO ©︎LINO TAGLIAPIETRA

 

Office (O): Now that you are out of school and have seen a lot of things, how do you see this work? 

S: Of course, what I want to create now is different from this work, but I still admire the style that he creates. Earlier this year, I injured my hand due to carelessness. This has made me realize how hard it is to keep my body and to keep creating, so I respect the style of work that he is still creating at the age of 86. And this work is still symbolic for me, like a star in the distance.  

 

When it comes to myself, I've always been interested in tight and clear shapes, and I think I've been making such things. Now I am interested in the flow of liquid (like molten glass), the passage of time and gravity caused by the flow, and I want to express these things in glass.  Mr. Lino is the embodiment of Western craftsmanship at a high level, but I want to reflect the senses I grew up with here in my craftsmanship. For example, it is said that foreigners hear the buzzing of insects in the part of the brain that perceives noise, while Japanese hear it in the part of the brain that listens to music. I am beginning to think that it would be great if I could create a form of such aesthetic sense and view of nature.

Works on display at the store (PONTE)

O: What do you have in mind for TOMORROW FIELD? 

S: When I thought about what I could do for the big theme of TOMORROW FIELD, I started out as an artist, making Rondel (glass disks used for windows, etc.) with my own hands. It was more like my own personal work. However, I am beginning to think that I would like to develop something that can be made by various people and passed on to the next generation. I haven't quite worked out the details yet, but I think such a direction would be ideal for TOMORROW FIELD.