HOMO FABER 2026
Muriel Balensi
Susanna Pozzoli©Michelangelo Foundation
Muriel Balensi
Susanna Pozzoli©Michelangelo Foundation
Muriel Balensi
Susanna Pozzoli©Michelangelo Foundation
Muriel Balensi
Susanna Pozzoli©Michelangelo Foundation
Muriel Balensi
Susanna Pozzoli©Michelangelo Foundation
Muriel Balensi
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Muriel Balensi

Lampworking

Venice, Italy

Mini-capsules of enchantment

  • Muriel is French and discovered lampworking in her thirties
  • Silence affords her a source of inner inspiration
  • She believes that glass reflects the effort one puts into making it

In the winter of 2007, while on vacation in Venice, a master glassmaker crafted a bead under Muriel Balensi's enchanted gaze and offered her the chance to try making one for herself. For Muriel, that contact with glass and fire was a revelation and a life-changing experience. "The material felt like an extension of my hands," she explains. She decided to pursue her passion for Murano glass and moved to Italy. Muriel began her training in Venice to learn the craft of beadmaking, over time refining both her technical and artistic skills. Today, she creates unique beads which are micro-universes encapsulating arabesques, calligraphy and gold leaf. She also crafts exquisite, vibrantly coloured jewellery inspired by the beauty of nature.

Muriel Balensi is a master artisan: she began her career in 2008 and she started teaching in 2015.

INTERVIEW

Murano is the cradle of glass. Here, even the stones tell a story. I love the peace, the silence, the fact that glass is part of the genetic makeup of the Muranese people. It is in their blood. They talk about it wherever they are. Pure glassmaking energy flows on this island.

You never stop studying, learning, searching and discovering. As with many art forms, the materials and techniques have largely been the same for centuries, but the music you can create with seven notes is endless.

It takes painstaking attention to detail to encapsulate various time-honoured glassmaking techniques in a single bead. Sometimes, I place up to 200 dots of colour in a specific geometric shape, then I use an extremely thin glass rod to create the calligraphic arabesques that have become my hallmark.

For me, it is all about the commitment to seeking perfection. It allows me to push the boundaries a bit further, and results in artefacts that last the test of time and help create a living environment where the energy of beauty elevates the spirit.

1 DESTINATION

Venice: the historical art of Murano glassmaking