Explorer of forms

Caterina crafts contemporary Murano glass jewellery
She blows glass with the traditional lampworking technique
In 2015 the Region of Tuscany awarded her the title of Master Artisan

Caterina Zucchi discovered glass in her high school years, while pondering her future career. "Being creative has always been an integral part of my personality," she says, "and I have always felt a strong impulse to make imaginative objects, through which I could express myself and find my personal well-being.” And since glass requires total dedication and meticulousness, she felt it represented the perfect medium for her all-consuming passion. After training in specialised glass schools in Bolzano and Murano, in 2004 Caterina returned to her native Livorno, and opened her own studio. Influenced by the experimentations of surrealism, Caterina engages in an exploration of the limitless potential of glass, creating Murano glass jewellery pieces inspired by dreams and shadows, architecture and geometry.

Caterina Zucchi is an expert artisan: she began her career in 2004

Discover her work

Discover her work

Zero

Comfort zone

Tuttetette

Non c’è rosa

Baffuta

INTERVIEW

I employ the traditional lampworking technique, where the flame of a blowtorch (an oil lamp in ancient times) is used to heat the glass and make it malleable. I make both solid and blown glass beads and other elements that can be strung and worn as jewellery.

Of course, but you cannot be innovative if you do not master the tradition. Every day I use an ancient technique in pursuit of a unique, representative and recognisable result: to create something that is contemporary and, hopefully, also innovative.

It is an ongoing collaboration with Lucio Bubacco, the renowned Murano master lampworker who was also my tutor in Bolzano. The Atlantide necklace, our first four-handed creation, was selected for the 4th International Lampwork Glass Art Festival China in 2020.

In Italy it is rather bleak, unfortunately, because schools and universities do not provide training anymore, and the transmission of skills falls on artisans themselves. The situation is far better abroad, where crafts are considered and treated on a par with other professions.