Organic glass and fluid landscape

Rippling Necklace

During the course of her evolutionary journey, Biba has experimented with a range of materials, searching for a balanced dialogue between form and content, construction and meaning.

However, perhaps it is in the use of glass that her language is best expressed and defined, even though she prefers to define herself as a metal worker. Her approach to glass was born almost casually 10 years ago.

Clockwise from top: 'Black Corsage', 'Narold's Head', 'Asclepias', 'Thumbalina', 'Beutts', 'Asclepias'

She took then part in a residency at the Corning Museum of Glass, which gave her the skills and the drive towards experimenting with and using this new material. Now she also collaborates with other glass masters, however she leads the work with attention, precision and lucidity.

With the aim of creating sensual and liquid sculptures, she has dedicated herself to developing the most elegant, simple and balanced ways of combining metal and glass.

'Bur-suh', 'Is it a circle'

The union and the combination of these two materials always leads to outcomes of extreme contrast: the softness of rounded glass against the hardness of metal, the heat of the colours and the rhythmic and undulating movement of glass, against the coldness of the grey metal that in its own way contains, collects.

'Poolingll', 'Black Score'

Cutting has a specific importance and relevance in her work. 

In addition to always being executed with care and precision, finished in the smallest details, it creates that particular movement and global appearance of her jewellery that makes it unique.

The alternation of full and empty forms, of openings and recesses, offers a modular and sensual rhythm, like an abstract, fluid, liquid lunar landscape.

Her pieces are present in a number of important museum collections, including the Museum of Fine Arts in Boston, the Corning Museum in New York, the Newark Museum of New Jersey, Racine Art Museum in Racine.

Rings, Biba Schutz