Exhibition dedicated to the process of crystal glass-making curated and designed by our team
When we have first started working with crystal glass as designers, we were deeply impressed by the production of glass. Even today a lot of work is still done manually: in some cases it takes up to 10 craftsmen to make one piece.

The more we found out about the craft, the more we wanted to make this magical process visible. The project ‘In All Glow: Crystal Glass From Shape To Cut’ is our attempt to show every workstation of glass making as a place of new discoveries and experiments.



The project consists of the art show and the book that documents our approach.









Our first step in this direction was an exhibition ‘Razzle-Dazzle’. Held in 2023 at MYRA Center in Suzdal, it showed the process of glass making through the works from MYRA Collection, a treasury of avant-garde artifacts, modern and contemporary art generously accompanied by rare miscellanea and obscure documents of every-day life.



The exhibits showed the stages of a crystal glass item in-the-making through visual rhymes: for example, a photo of a parachute in the sky resembles a technical glass-top of the future item that holds the tube in its place during glass blowing. The process of linocut has a lot in common with crystal cut and avant-garde colour charts illustrate the pursuit behind coloured glass.

Crystal glass items from the sample room of Gus Crystal Factory have added the iconic diamond dazzle to the art show. In 2024 we have united with All-Russian Museum Of Decorative Art to develop this concept further. The exhibition was enlarged with new sections dedicated to composition of glass and the art of glass engraving. Museum’s vast and rich collection of glass became the core of this exhibition: the variety of different techniques was shown through the works of pre-revolutionary and Soviet artists as well as the pieces by contemporary glassmakers.


We have contributed with our recent work, Acorn-Shaped Box, which was shown in section dedicated to colour.

Paintings, illustrations, rare books and objects from MYRA collection supported sparkling and fragile treasures. The original idea of visual rhyming between images and technical process has significantly broadened: exhibiting fine art with applied art is the way to reflect how they nourish each other. In other words, to include applied arts in general narration and show some linked patterns between design, fine art and architecture.



We have also included works by contemporary artists to bring this theme to the present day.






Design of the exhibition is minimal: simple architecture of showcases let the glass pieces stand out and speak for themselves. Graphics, paintings and photos are floating among the glass objects, making it simple for the viewer to see the similarities between different kinds of art. White showcases and subtle pattern on paper backdrops behind the exhibits create the feeling of a laboratory: this is the effect we were initially aiming at, showing glassmaking as an experimental field of work.



Monotone pattern of showcases is interrupted with the last sequence of this exhibition called ‘Glow’. Mirrored structure multiplies the crystal glass pieces, creating an illusion of a dazzling brilliance.

In this chapter of the exhibition museum treasures are featured along with the details and sketches of monumental lamps created by the Soviet architect Igor Pyatkin. Pyatkin designed unique transformable lighting fixtures made of optical and crystal glass. Today some of his creations can be seen in theatres, museums and hotels though there’s not much info about their author. It is the first time when the archive of this architect and product designer is shown to the public.



An important aim of our project was to bring more exposure for not so known creators in the field of glassmaking and to show how exciting and rewarding this path may be.
We really hope that our exhibition would help people to see glass art differently — in other words, in its entire glow.
