I started working with glass in 1996, in Rio, following the creation of utilitarian pieces and art applied to ceramics – plates and wheel.

I have always been fascinated by glass, with its transparency and hardness. I followed the glassblower in Italy - MURANO (where they dominate the market) and Scandinavia (Sweden - ORREFORDS-BODA, Norway - HADELAND and Finland - ITTALA).

Experimenting with our glass (used in doors and windows)and a ceramics oven, as well as attending some workshops, I felt the need to deepen my knowledge of how to handle that material, and I attended my first course at the CORNING STUDIO (NY state, USA) in 1999.

The city of Corning (PYREX) breathes glass and contains several ateliers, bookstores and the best and largest Museum specialized in Art in Glass (more than 2,000 pieces of all times), as well as a library (books, journals, slides) with information on techniques, materials, artists from all over the world. The STUDIO is small, but well equipped (classes with at most 8 students), with teachers specialized in techniques used worldwide, such as Blowing, Torch, Vitreaux, Block sculpture and Pâte de Verre.

From 1999 to 2003, I took 3 courses (Torch, Fusion for Jewelry and Pâte de Verre) and participated in several workshops with artists (Italians, Americans, Australians) getting to know their different techniques and the materials used in the execution of their works.

In 2000 I went to the Bullseye Factory, in Portland, Oregon, and took four courses: Cutting, Fusion 1 and 2 and Painting with Light -textures and knowledge of material and temperature, so as to choose the final technique for my work - WARM GLASS / FUSING.

I discovered after my studies that some types of glass are not compatible, because they depend on their composition, coefficient of expansion (COE), when submitted to a range of temperatures.

Therefore, when we choose the technique we want to use, we should work (if possible) with the best material available in the market. There are only a few manufacturers of color glass for fusion. In Brazil, we have excelent porcelain, ceramic material, but the local glass is not compatible with the colored imports, therefore the work is differentiated with respect to its color, (enamel for glass and porcelain). Because I have worked with ceramics, I also make some pieces using the molds and the ceramics oven, but the ideal is to have a glass oven.

Starting 2001, I have been working on my series of glass pieces, showing and selling them in several stores.

I have been a member of the Glass America Association since 2004 and I try to go to their congresses and keep up to date with new materials and tools.

In that same year I designed my showroom, where I show and sell my series: Vases Fazzolettos, Plate-Mosaic, Dishes-Bowls, Tables-Doors, Lightning, Tela Vetro and Gioias.

In 2005 I went to the GAS Congress in Adelaide and met one of idols in Fusion, Klaus Moje, who has been working in Australia for more than 25 years (he was born in Germany and now has Australian nationality). It was great, I met several artists and the country is well developed technically and in the process of creation.

My series Gioias - Bijoux with Glass is the latest release in another segment (FASHION), because as an architect I have always worked with utilitarian pieces and applied art. This is a very dynamic line, I always have works in the fashion season’s colors as well as pieces from recycled glass. I use silver wires, plated metal accessories, stones and leather to complement the pieces(pendants, necklaces, bracelets, earrings, watchbands, rings, etc.).

In 2006 I returned to Portland, Oregon to participate in a workshop of glass plates taught by the american artist and architect Richard Parrish who shows his works at the Bullseye Gallery, in Portland’s Pearl District.