Aino has been working and experimenting, creating and using glass with wood and metal in different ways .
Her trips to different cultures in the past, have made an significant impact on her work.
She explains; When I was a volunteer in USA, I got a rare opportunity to get inside the culture of the Native American's lives. There I saw the real America. Real people….their visions and thoughts. It was an eye-opener.
Although, with that history in mind. Lately, Aino has found something else, more profound, in smaller visions, in herself and those who lives around her, family, nature and meetings.
Creating a small universe within the universe. Fantasy or real….
Aino's creations comes from inspirations, by thoughts, feelings, about something heard or seen. In her process, the sensation, or "the spark", as she puts it, comes and goes. It easily disappears and the moment is lost.
As she says; I get sometimes so much input in my mind, so some of it dies inevitably…before the thought get realized.
It was more or less destiny that got Aino into the line of glass. Participated in an education, at the Folks University in Växjö, 1999, where she could work in different materials. It was through that study course, where Aino got in contact with the material glass and the technique, fusing. Then, the other thing led to another, Aino started later that year in an education "The glass and design line" at the Växjö University.
There she got the opportunity to make her final practice at Urban Glass, New York. Where she worked with master blower Reino Björk for two months.
Through a magazine, Vetro, Aino got in contact with Centro Studio Vetro in Murano, Italy. Was enrolled at their first, workshop in 2001, that was held by them. There Aino got the opportunity to study for Miriam di Fiore.
The summer of 2002, Aino was the assistant, on a workshop, held by Claudio Tiozzo, in fusing, also organized by Centro Studio Vetro, on San Servolo, Italy.
As a student for Claudio Tiozzo, in his studio on Murano, Italy, spring 2002. Aino got the chance to learn a new technique, glass casting. There she took a pattern, derived it from flat glass, and discovered how it would look like as a three dimensional sculpture. With a very exciting result.
2003, Aino began to work with one of our most distinguished glassblowers, Vilke Adolfsson.
He has been teacher to, William Morris, Monica Guggisberg and Phillip Baldwin, just to name a few. At his studio Aino coldworked and designed both Ariel, Graal, over- and under-lay pieces.
Summer 2003, Aino started to work and integrate wood in her creations.
Through Wood, the lines and curves, came to live, when she found the inspiration to make glass sculptures and paintings out of these patterns.
In blown glass, you get a wonderful three dimensional piece. With a depth and also a shallowness in different areas with opaque glass mixed with transparency.
So by building up her first paintings with different layers of plywood, Aino thought that she could hopefully generate an aerial perception. Meantime Aino wanted to create a similar feeling with flat glass, used in fusing. So in 2005 Aino began to use fused glass for the first time, on paintings. In the same layering technique as on the wooden paintings. To widen the prospects of the limit of the glass, Aino wanted to mold and stretch the glass without any boundaries, into a live matter. In doing so, she found a new way to express her inner thoughts of presenting the glass.
Simon Gate
Her grandfather, Simon Gate 1883-1945, became mostly well-known as a glass artist and became employed by Orrefors glass factory as their first glass designer, 1916.
The same year the Graal technique was developed together with Knut Bergkvist, who was a master glassblower on the glass factory.
1925, on the International Exhibition of Art in Paris, Orrefors got their international breakthrough.
Her grandfathers cooperation with Orrefors lasted for thirty years.
Her trips to different cultures in the past, have made an significant impact on her work.
She explains; When I was a volunteer in USA, I got a rare opportunity to get inside the culture of the Native American's lives. There I saw the real America. Real people….their visions and thoughts. It was an eye-opener.
Although, with that history in mind. Lately, Aino has found something else, more profound, in smaller visions, in herself and those who lives around her, family, nature and meetings.
Creating a small universe within the universe. Fantasy or real….
Aino's creations comes from inspirations, by thoughts, feelings, about something heard or seen. In her process, the sensation, or "the spark", as she puts it, comes and goes. It easily disappears and the moment is lost.
As she says; I get sometimes so much input in my mind, so some of it dies inevitably…before the thought get realized.
It was more or less destiny that got Aino into the line of glass. Participated in an education, at the Folks University in Växjö, 1999, where she could work in different materials. It was through that study course, where Aino got in contact with the material glass and the technique, fusing. Then, the other thing led to another, Aino started later that year in an education "The glass and design line" at the Växjö University.
There she got the opportunity to make her final practice at Urban Glass, New York. Where she worked with master blower Reino Björk for two months.
Through a magazine, Vetro, Aino got in contact with Centro Studio Vetro in Murano, Italy. Was enrolled at their first, workshop in 2001, that was held by them. There Aino got the opportunity to study for Miriam di Fiore.
The summer of 2002, Aino was the assistant, on a workshop, held by Claudio Tiozzo, in fusing, also organized by Centro Studio Vetro, on San Servolo, Italy.
As a student for Claudio Tiozzo, in his studio on Murano, Italy, spring 2002. Aino got the chance to learn a new technique, glass casting. There she took a pattern, derived it from flat glass, and discovered how it would look like as a three dimensional sculpture. With a very exciting result.
2003, Aino began to work with one of our most distinguished glassblowers, Vilke Adolfsson.
He has been teacher to, William Morris, Monica Guggisberg and Phillip Baldwin, just to name a few. At his studio Aino coldworked and designed both Ariel, Graal, over- and under-lay pieces.
Summer 2003, Aino started to work and integrate wood in her creations.
Through Wood, the lines and curves, came to live, when she found the inspiration to make glass sculptures and paintings out of these patterns.
In blown glass, you get a wonderful three dimensional piece. With a depth and also a shallowness in different areas with opaque glass mixed with transparency.
So by building up her first paintings with different layers of plywood, Aino thought that she could hopefully generate an aerial perception. Meantime Aino wanted to create a similar feeling with flat glass, used in fusing. So in 2005 Aino began to use fused glass for the first time, on paintings. In the same layering technique as on the wooden paintings. To widen the prospects of the limit of the glass, Aino wanted to mold and stretch the glass without any boundaries, into a live matter. In doing so, she found a new way to express her inner thoughts of presenting the glass.
Simon Gate
Her grandfather, Simon Gate 1883-1945, became mostly well-known as a glass artist and became employed by Orrefors glass factory as their first glass designer, 1916.
The same year the Graal technique was developed together with Knut Bergkvist, who was a master glassblower on the glass factory.
1925, on the International Exhibition of Art in Paris, Orrefors got their international breakthrough.
Her grandfathers cooperation with Orrefors lasted for thirty years.