Argentinian-born glass artist Agustina Ros has a unique relationship with her medium – one that blends fire, light, and the delicate art of control and surrender. From her early beginnings in Buenos Aires to the bustling glass studios of Barcelona, Agustina has mastered the craft of glassblowing while pushing its boundaries, creating pieces that live and breathe in response to their surroundings. With each work reflecting her love for both tradition and innovation, Agustina transforms raw material into art that captivates the senses. In this interview, she shares her artistic journey, the magic of light in her creations, and how the future of glassblowing is shaping up in her hands.
hube: Among clay, stone and canvas, what initially drew you to using glass as your primary medium? Why is glass captivating to you?
Agustina Ros: I’ve always been involved with the arts since I was a little kid. I started drawing and painting at a young age, working with oils on large canvases. It helped me express myself in ways I couldn’t through words, and I’m always thankful to my mom for taking me to art classes when I was just seven. After finishing school, I studied fine arts at university, where I was introduced to ceramics.
That’s where things shifted for me. I got the chance to work in a studio where they were doing ceramics, glass fusing, and even metal jewelry. I fell in love with the hands-on, manual nature of it all – the connection with the materials was incredible. There was a master of each craft, and I wanted to find my own material to connect with.
That’s when I started researching glassblowing. In Argentina, there wasn’t much going on with glassblowing at the time – mostly factories but no independent artists working with it. So, I came to Barcelona to take my first class with Ferran Collado, a fourth-generation glassblower, and I instantly fell in love with the process. It was the first time I felt completely present. When I worked with glass, my mind stopped, and I was fully absorbed in the moment.
The qualities of glass – the transparency, the movement from cold to heat, the way you can sculpt it – captivated me immediately. I knew from that moment that glass was what I wanted to do for the rest of my life.
h: Your work beautifully combines traditional glassblowing techniques with contemporary designs, with Andrae Ring and Gore Earring being prime examples of that. How do you balance these two elements in your creative process?
AR: It’s a lot of experimentation. I’ve been surrounded by traditional techniques since I started working with Ferran, and I fell in love with the old processes. But I’ve always been drawn to minimalism, to simple yet organic shapes.
For me, it’s about taking inspiration from these traditional techniques but then developing them within my own aesthetic. For example, with the mirror technique I use – liquid silver inside the glass – it took me three years to develop that. It’s about blending the old with the new, finding a balance where both can coexist in harmony.
h: It seems that light and its interaction with glass play a significant role in your work. Could you tell us how you manipulate these interactions to achieve your desired effects?
AR: That’s one of the most beautiful things about glass – its transparency and how it reacts to light. One of my favorite aspects is that a piece can change completely depending on the light. I always tell my clients that they’ll see different characteristics of the piece in different spaces or lighting conditions.
I try to consider all of this during the creative process. How will this piece interact with natural light? How will it look indoors or outside? Without light? I love that glass is alive in this way – it’s constantly changing and interacting with its environment.
h: Having studied various glassworking techniques around the world, which culture or tradition has had the most profound impact on your style and why? Would you say that, in a way, your art is a combination of all these techniques?
AR: I would say I’m most influenced by Venetian techniques, especially when it comes to the technical aspects of glassblowing. But in terms of inspiration, artists like Anish Kapoor have also had a huge influence on me, especially in the way they play with reflections and light.
At the end of the day, though, I draw from many traditions and techniques. I love exploring how different methods can merge with my own vision.
h: Your work has been exhibited globally, from New York to Shanghai. How do different cultural contexts and audiences influence your creations and exhibitions?
AR: From the beginning, I’ve had a strong connection with the American audience, particularly in New York, where I’ve exhibited a lot. They have a deep appreciation for glass and understand the technical challenges behind it, which I love.
In Europe, the experience can be different. Each country has its own culture and approach to art, and the appreciation for glass varies. In some places, there’s less knowledge about the technique, but the audience engages more with the aesthetic and emotional aspects of the work. I’ve also exhibited in places like China and South Korea, and each experience brings a new perspective.
What’s fascinating is that in some places, my work is seen as more fashionable, while in others it’s viewed as fine art. It really depends on the cultural context and how they perceive craft and art.
h: Glassblowing ensures each of your pieces is unique – they cannot be recreated. What do you think of this uniqueness and how do you believe creating one-of-a-kind designs might influence the future of fashion?
AR: It’s definitely not easy to maintain the concept of uniqueness over time, but it’s the only way I want to work. Each piece is like giving birth – it’s special, and I want whoever buys it to feel that uniqueness.
Of course, it would be easier to mass-produce a design, but that’s not what I’m about. I love that each piece has its own mood, its own story, and once it’s sold, it’s gone. It’s a lot of effort, but I think society is starting to value uniqueness again. Years ago, we were far from that. But now, we’re moving back towards valuing craftsmanship, art, and the concept of one-of-a-kind pieces. It’s important for controlling consumerism and recognising the value of the work behind each piece.
h: Glassblowing artists all around the world have their personal ways of approaching this exciting material. What is your secret?
AR: I think all glassmakers share a similar passion – we love the material, and we’re a bit obsessed with it! For me, the key is the technical process that comes before creating a piece. I love experimenting and playing with glass. I let things happen naturally in the flame, rather than forcing a specific direction.
It’s important to have technical knowledge to feel free in your creativity. Glass is difficult to work with, and if you don’t have that foundation, you’ll hit a wall. I spent years focusing on technique so that now, I can experiment without limitations. That’s where the magic happens – when you can let the glass lead and see where it takes you.
h: Looking to the future, what new techniques or concepts are you excited to explore in your glass artistry, and how do you envision your work evolving over the next few years?
AR: I’m starting to explore mixing glass with other materials, which is a big shift for me. It’s still very new, and I’m experimenting with how to create a harmonious contrast between glass and other elements. It’s tricky, but I’m excited about where it’s heading.
I’ve also been thinking about moving beyond wearable art and functional objects. For years, I’ve been challenging myself to create pieces that are both artistic and functional. But now, I want to push that boundary further – maybe even create art that isn’t meant to be worn or used. It’s an exciting new direction for me.
All images courtesy of AGUSTINA ROS
