Elisabeth Ohlström

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Fused glass is where the glass speaks the loudest. These works are often three-dimensional and frequently combined with mixed media. I find myself returning to birds and wings time after time — they inspire me endlessly. Creating a wing in glass gives it a special kind of fragility: delicate, luminous, and richly coloured. Most of my sculptures truly come to life when they’re placed in a window, where the light can pass through and reveal their full depth and brilliance.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Fused glass is where the glass speaks the loudest. These works are often three-dimensional and frequently combined with mixed media. I find myself returning to birds and wings time after time — they inspire me endlessly. Creating a wing in glass gives it a special kind of fragility: delicate, luminous, and richly coloured. Most of my sculptures truly come to life when they’re placed in a window, where the light can pass through and reveal their full depth and brilliance.

Fused glass is where the glass speaks the loudest. These works are often three-dimensional and frequently combined with mixed media. I find myself returning to birds and wings time after time — they inspire me endlessly. Creating a wing in glass gives it a special kind of fragility: delicate, luminous, and richly coloured. Most of my sculptures truly come to life when they’re placed in a window, where the light can pass through and reveal their full depth and brilliance.

Painting allows me to explore ideas in a more intuitive and expressive way. Here, colour, movement, and emotion take the lead. I work in layers, letting the process guide the final outcome, and I enjoy the freedom of responding to what emerges on the surface. My paintings often echo themes from my glass work — nature, transformation, and a sense of quiet motion—but in a softer, more fluid language. They are meant to invite the viewer in, offering space for reflection, imagination, and personal interpretation.

Fused glass is where the glass speaks the loudest. These works are often three-dimensional and frequently combined with mixed media. I find myself returning to birds and wings time after time — they inspire me endlessly. Creating a wing in glass gives it a special kind of fragility: delicate, luminous, and richly coloured. Most of my sculptures truly come to life when they’re placed in a window, where the light can pass through and reveal their full depth and brilliance.

Fused glass is where the glass speaks the loudest. These works are often three-dimensional and frequently combined with mixed media. I find myself returning to birds and wings time after time — they inspire me endlessly. Creating a wing in glass gives it a special kind of fragility: delicate, luminous, and richly coloured. Most of my sculptures truly come to life when they’re placed in a window, where the light can pass through and reveal their full depth and brilliance.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Glass casting dates back to ancient Egypt. It’s a process where molten glass is poured into a mould and left to solidify. I make my own moulds, then fill them with glass, metal powders, and other intriguing materials. As they melt and fuse together, they can create truly beautiful pieces. Because the process is slow and precise, everything must follow an exact firing schedule. It can take up to a week before I can open the kiln — only then can I be sure the work has cooled fully and is ready for finishing.

Painting allows me to explore ideas in a more intuitive and expressive way. Here, colour, movement, and emotion take the lead. I work in layers, letting the process guide the final outcome, and I enjoy the freedom of responding to what emerges on the surface. My paintings often echo themes from my glass work — nature, transformation, and a sense of quiet motion—but in a softer, more fluid language. They are meant to invite the viewer in, offering space for reflection, imagination, and personal interpretation.