And yet, Gaetano Pesce was initially reluctant to work at C.I.R.V.A. He considered traditional glass techniques too entrenched, too rigid, and feared that this would restrict his research process. However, as always, Gaetano Pesce pushed the limits of the material and developed new techniques in his traditional own way.
Pesce at the C.I.R.V.A
When Gaetano Pesce is selected to experiment glass techniques at the C.I.R.V.A in Marseille, a wave of creative energy swept through the workshops. The goal was simple: experimentation and exploration. For Gaeatano Pesce, technique must lie at the heart of creation. It even takes precedence over the final result: experimentation above all. This remains Gaetano Pesce’s DNA.
This collaboration resulted in 70 artworks. Each one was unique. The glass was elevated to the status of holly stained glass.
And yet, Gaetano Pesce was initially reluctant to work at C.I.R.V.A. He considered traditional glass techniques too entrenched, too rigid, and feared that this would restrict his research process. However, as always, Gaetano Pesce pushed the limits of the material and developed new techniques in his traditional own way.
The first, named “Mistral,” involved spraying molten glass powder onto a mold by using a compressed air gun.
Another, called “Vieux Port,” brought together clusters of flat and broken glass, thermoformed within a mold.
Finally, “Pastis” assembled melted and broken glass bottles between two sheets of thermobonded window glass, all fused within a mold.
Gaetano Pesce borrowed techniques usually reserved for metalwork and applied them to glassmaking. The result was a series of prototype-like objects rather than polished, finished pieces. The works remain raw, deeply artisanal far from the standards expected by industry. At C.I.R.V.A, the aim was to imagine new possibilities, not necessarily to fulfill them.
