Figures of emotion
- Before glass sculpting, Zsuzsa used to work in finance
- For her, working with glass is a therapeutic and spiritual process
- The cast glass techniques she uses are not widespread
For a long time it was not clear what profession Zsuzsa Lili Molnár would follow. For years she worked at a multinational company, but enrolled in an art clay silver course one day as she had been passionate about jewellery since childhood. There, instead of gemstones, she fell in love with the metallic shimmering of dichroic glass. At the time, Zsuzsa continued her studies in metalwork. Later, she chose to embrace uncertainty and enrolled in a glass fusing course. This is how she started her own studio. Zsuzsa perfected her skills through courses and a degree in glass design at Moholy-Nagy University of Art and Design in Budapest, and today works mainly with casting techniques.
INTERVIEW
The topics I raise with glass resonate with many people. It is fun to see how a small object can bring out so much emotion and thought. As the technique of studio glass casting is relatively new and not yet widely used, I often get feedback that people have never seen it before.
The most painful moment, and also the most beautiful, is linked to my work The Grieving Son. It was painful to be confronted with how glass intended for a small sculpture became a glass puddle when the mould it was cast into was not strong enough.
I chose this material and this technique because it was the most difficult I have ever had to work with. I would only recommend it to someone who has the 'mental stamina' to deal with recurring failures.
I am currently organising a travelling exhibition for my Transparent Lives series. I would love to take the exhibition as far as possible and to see therapeutic sessions organised around it. The series is constantly expanding and I am bringing my story to a happy ending.
