Engraving on Glass

Antique: used for complicated heraldic crests realized at wheels of copper and stone. Or modern at the diamond wheels; executed with skill, it remains the decorative art of excellence on glass.

Elegant, sober in its shades of white and grey, at times luminous, refined by the decorations and in the swirls.

Employed with mastery on glass blown with precious workmanship, with all rights it can boast to have graced the tables of popes and kings. And now... why not yours?

Luigi Camozzo Master Engraver.



The "Battuto" Phenomenon: Reflections of Luigi Camozzo

Born as a remedy for glass deformed or partially defected, it has become an exaggerated mode in the last ten years.

And like all fashion, imitated! Copied well, less well, more or less scratched, chipped, oiled, greased, lately siliconed. The important thing is that on top of whatever kind of glass, a diamond wheel has been passed. Without any aesthetic critirea about form, cut, or comprehensive harmony. Glass like body! 'Battuto' like dress! And the soul? Only and exclusively an option!

Glass composed in mosaic on the stone, with a good selection of color and geometry are, once knowingly fused, closely grouped, and well blown, already beautiful of themselves: so from where comes this need to torture them with 'battuto'?

Simply they use it, everybody does it: glass blowers, cold workers, artisans, Indians and Chinese included. Like the others I too, am riding the wave. With the firm objective in view to GIVE more than take from the glass.

I'm not a master glass blower, not even a cold working grinder! I define myself more as a designer and an engraver with an accute aesthetic sense, and like many try to work to my best on my glass: transforming them and lightening them, modifying the original lines just that little bit allowed by the walls and thickness.

From this simple philosophy a name more appropriate: no longer battuto, but glass sculpted by Luigi Camozzo. Sounds better, and it's more chic.

They are born in three distinct working phases. The first is thinning, the second is refining for delineating new profiles impossible to create in the furnace.

Now the glass has assumed another identity and with the third phase, they dress with superficial effects with velvet, the water affect, the beaten, the woven and others always executed with the wheel in very fine grain, and more often than not on the stone wheel: with researched motives of the cut.

Mine is a continual and consistent research in perfecting and making more precious a piece, creating in the union, forms of color, plays of light, transparency and opacity, not only a surface pleasant to the touch but also soft and silky.

Only and exclusively now, for my way of seeing things, everything has a meaning: not 'battuto' glass anymore.



The 'Battuti' of Luigi Camozzo

Works in murrino glass – compositions of precious charm.

From the antique art of glass, today as yesterday, these pieces come to life with unchanged techniques, in an infinite mosaic of points, lines and colors. Shaped in the furnace, simple forms now wear a precious dress.

Grinding, veiling, and sculpting all meld together. From the fire of the furnace to the water on the wheel, suggesting again this millennium glass in a contemporary, artistic context. Silky to the touch, rich with interior light to give the collector the joy of possessing a fragment of this ancient, noble art of glass.



Sculpture in Glass

Sculpture is obtained by subtracting material.

From prehistoric to our days continues undisturbed. As with the white marble of Carrar from which blossomed famous forms, now also from glass.

Natural are the elements: glass, diamonds, stone, pumice, water. The able hands of the artist transform the material into a myriad of abstract and primordial forms. Remotes works, fascinating for their simple daily use in a time since forgotten.

Spear points, arrowheads, scrapers, knives, necklaces and pendants, incomprehensible sculpture for who knows what ancient rituals. Flint, obsidian, horn, all used with mastery for thousands of years, are now substituted by Luigi Camozzo, for calcedonia glass, 'avventurina', and still others, to recreate simple forms from atavic time, an up-to-date work which presents, with a contemporary technic, the charm of its origins.



Blown Glass

An antich art of Murano glass masters handed down from father to son.

It has taken hundreds of years of designs and works to create the harmonious forms and lines that repeat themselves through the centuries.

Blown glass is the maximum expression of elegance and refined lightness of a thousand gradations of color, on occassion enhanced with 'fillegrane', with gold, and with engraving.

To possess even one authentic piece is a priviledge reserved for few amatuers and collectors constantly in search of an art that, unfortunately, is disappearing.

The designs and traditional wheel engraving executed strictly by hand, are the works of Master engraver, Luigi Camozzo.


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