“A dialogue between control and spontaneity…”
Paul Zimmerman in conversation with Fanny Finchelman
Paul Zimmerman: How did you get interested in glass art?
Fanny Finchelman: At first, I was deeply committed to ceramics and architecture, my profession, —two very different art forms that I truly loved. Glass, on the other hand, seemed somewhat dangerous and stiff to me.
But then a friend showed me what she was creating with glass at Miguel Diez’s atelier in Buenos Aires, and I was instantly captivated. That very day I started my own journey with glass fusing.
Those first years at Miguel’s atelier were filled with wonderful learning, exploration, and growth. Since then, I have continued to expand my skills through collaboration with artists around the world, as well as through countless hours of trial, error, and self-directed experimentation.
PZ: What is the most challenging aspect of your work?
The most challenging—and also the most rewarding—aspect of my work is the uncertainty of the final result, because, as we glass artists often say, “the kiln gods have the last word.” Learning how to “tame” these elements in order to achieve the vision I had in mind is an ongoing process—one that demands both technical skill and patience, but at the same time, it’s this very unpredictability that brings a sense of wonder.
FF: Once a piece enters the kiln, my control is limited. Temperature, timing, gravity, and even the chemistry between colors can shift the outcome in unexpected ways. Every combination of glass colors, thicknesses, and sizes behaves differently, producing its own unique result. And no matter how experienced I am as a glass fuser, sometimes the kiln still manages to surprise me—at times spectacularly!
It’s a delicate dance between control and surrender, between intention and accident—and that’s what keeps me coming back to the studio, again and again.
PZ: Do you have any particular goal in mind when you start a new piece?
FF: No and yes. When I’m creating a piece, I rarely begin with a fixed image in mind. Instead, I set certain technical and artistical parameters or challenges to guide me, then allow the process itself to lead the way. More often, I start from an emotional impulse, a sensation, or a question I want to explore. The goal isn’t always clear at the outset, but there’s usually a direction—a kind of internal compass. As I work, the piece gradually reveals itself, and the intention sharpens through the act of making. I may not always know exactly where I’m headed, but I trust that the journey—and my skills—will take me somewhere meaningful.
PZ: How do you know when the work is finished?
FF: It’s an inner feeling—intuitive and instinctive—rather than something based on technique or logic. There’s a moment when the piece simply “feels” complete, when adding more would take away rather than enhance. It’s like the work itself signals that it’s ready to exist on its own.
Sometimes I feel a piece still needs something, that it hasn’t yet reached what I envisioned. But even after another firing—or two—the changes I expect never appear. That’s when I understand the piece has found its own resolution, and my task is to accept it, letting go of my will in favor of its own quiet truth.
It becomes less about imposing my will and more about embracing the dialogue between material, fire, and spirit—a delicate balance where the art is finally free to exist as it wishes.
PZ: Has your practice changed over time?
FF: Definitely! My practice is in constant evolution. I’m an active and endlessly curious person, and once I’ve mastered a technique to the point it feels repetitive, my interest naturally shifts toward new challenges. This drive leads me to explore fresh techniques, materials, methods, and approaches that keep my work vibrant, innovative, and stimulating. Beginning my glass journey in South America gave me a unique lens on fused glass, one that I’ve blended with the practices I’ve discovered in the Northern Hemisphere. This cross-cultural mix has become part of my artistic, innovative signature, and is my contribution to the global world of fused glass art, and I take great joy in sharing these groundbreaking techniques with fellow artists.
For me, exploring new methods doesn’t just sustain my engagement—it expands the boundaries of what I can express through glass. Each shift in my practice unlocks new textures, colors, and forms, opening fresh avenues for creativity and communication. Change isn’t just part of my process—it’s at its very heart.
PZ: Which artists are you most influenced by?
FF: My greatest influence has been Miguel Diez, my first teacher in Argentina — an extraordinary, innovative glass artist with whom I often exchange ideas and refine techniques. I’m also inspired, among others- by Toots Zynsky’s vibrant and colourful vessels, Dale Chihuly’s exuberant installations, Lino Tagliapietra’s fusion of Venetian tradition with modernist design, and Narcissus Quagliata’s painterly approach to fused glass.
And of course, there are so many others who, in one way or another, continually inspire and enrich my artistic journey.
PZ: How would you define yourself as an artist?
FF: I define myself as a glass artist who uses the material to give form to emotion. For me, working with glass is both a technical and an emotional process—one that demands precision, patience, and a deep sensitivity. Glass allows me to express vulnerability, tension, softness and resilience all at once. Each piece I create is a dialogue between control and spontaneity, between technical mastery and intuitive exploration. For me, glass is more than a medium—it’s a way to capture fleeting moments and give them lasting form.
PZ: What are you working on now?
FF: Right now, I’m in the middle of a wonderfully busy creative season. I’m preparing an installation for one of the Art Miami Fairs this December, where my glass flowers will bloom alongside other of my new, related works. At the same time, I’m filming a video tutorial on these flowers—something many fellow glass artists have been asking for. Creating and teaching are my two great passions, and with both projects moving full speed ahead, my days are overflowing with energy, focus, and the thrill of bringing ideas to life.
PZ: What is the role of art in our society?
FF: Art holds countless roles in society, and perhaps never more so than in the challenging times we face today. For me, one of its most profound powers is the ability to foster intercultural dialogue—building bridges of tolerance and understanding between communities. Art speaks in a universal language, transcending words and borders, thus allowing people from every culture to see, feel, and connect with one another.
Yet its role goes beyond communication. Art has the power to question the status quo, challenge social norms, and provoke critical thinking. And just as importantly, art brings beauty into our lives—a beauty that nourishes the spirit, offers moments of peace in times of uncertainty, and reminds us of our shared humanity.