Hanna Hansdotter
Glassblower
Gåsamåla, Sweden
Recommended by Luca Nichetto
Capturing the wild spirit of glass
- Hanna’s glass pieces begin with custom metal moulds that trap and shape molten glass
- She has exhibited in New York, Paris and across Scandinavia
- Her pieces feature marbled glass surfaces created with swirls of melted colours
Hanna Hansdotter’s sculptural glass vessels push the boundaries of glass art. “I stay away from plain, clear glass. I am drawn to marble-like swirls and reflective finishes that feel like you are directly touching the colours imprisoned in glass,” she says. After earning a BFA in the ceramics and glass programme at Konstfack in Stockholm, Hanna moved to Småland where she started shaping her unique style. Pieces begin with metal moulds she has welded herself, into which she blows glass, watching the hot glass swell and bend, fighting her every step of the way. Sometimes Hanna collaborates with large teams to create sizeable sculptures, while at other times, she creates pieces for Kosta Boda, Sweden’s oldest glassworks, world renowned for its bold and experimental art. Whatever the project, her practice centres on a physical push-and-pull and the changing shape of glass.
Discover her work
INTERVIEW
I was 24 and working at a petrol station in Oslo when I saw an item on glassblowing on the news. On the encouragement of my mother, I decided to try it. Once I got into the hot shop, I was hooked. Glass is a fast, demanding material that takes every bit of your focus. It keeps the mind busy.
I am inspired by the tension between control and chaos. I look at classical architecture and patterns, but I want the final piece to feel like a body, like flesh swelling and expanding against a structure. I love the sense that the material is moving and pushing back. I aim to capture that internal pressure and the tactile feeling of the surface itself.
My process is the opposite of traditional sculpting. Instead of making an object, I weld a metal mould first. Then I blow the molten glass into the metal frame. I also mix and swirl the colours myself to get a marbled look before the glass is blown up. It is a physical, spontaneous way of working where the metal mould dictates the final distortion.
My signature approach is all about the tactile surface and the way the objects are made. I do not generally work with clear or transparent glass because I want people to see and feel the texture. Whether I am designing drinking glasses or massive sculptures, I want the object to look like it is still in movement. I seek that specific mould-blown look as the glass feels alive and heavy.
