In Between Manipulated Pâte de Verre

Any artist is living in between. On one side an artist is part of the society as someone normal living a life not different to anybody else, who eats, loves, feels and communicates with other people about things that happen every day. On the other side any artist is observing every single motion of others. She/he sees the surrounding by all her/his senses in an active and passive way. All this information she/he is getting constantly without even thinking about how to get it. It makes the brain work permanently, even when it seems that she/he is having that normal live mentioned above. Her/his brain is already using all this inspiration in a creative way combining the motions, colors, shapes and lines, sounds and fragments of words and when the time comes the artist's hands will do the job of creation without thinking how to visualize it for others. This is the way I am working/I am living as an artist. I tried to divide my approach into three dimensions which are the poetic, the scientific and the artistic, to give a proof that being 'in between' - not only during my glass art and science studies in Portugal - can be a mental state that artists and scientists have. This mental state is leading us to further development, progress and creativity for a society, my experiments to answer this main question were influenced by Einsteins theory of relativity, which did change mankind's thinking about small (particles) and big (universe) at the beginning of last century, by Portuguese history and literature, by art history and by the material itself: glass made in pâte de verre. The first proof of Einstein's mathematical theory of space and time from 1916, better known as theory of relativity, was possible in May 1919 on the Portuguese island of Príncipe because of a solar eclipse when measuring stars close to the sun[1]. Since then we know that Einstein's mathematical theory was correct. It results into wave and particle duality and that is one part of my pâte de verre experiments. In the poetic field I was highly influenced by Fernando Pessoa's life, literature and his construction of heteronyms. In my research I could find out how he was living 'in between' and how his poems reflect that mental stage. My pâte de verre experiments - the artistic dimension of 'in between' - did bring me further and further away from what is usually made with this kind of method and I could find my own level – I call it manipulated pâte de verre. The final result bringing the three dimensions together was seen at my glass exhibition taking place at the Algerian Embassy in Lisboa [2] and at the Faculty of Fine Arts in Universidade de Lisboa