Jonas Noël Niedermann


Jonas Noël Niedermann is a glass artist whose work pushes the boundaries of shape, texture, and material, creating a connection between tradition and the future. A master at his craft, Jonas’ uses glowing and mallea- ble material to examine the tension between history, technology, craftsmanship, and the future of contemporary glass art.

Born in St.Gallen, Switzerland, Jonas attributes his precise eye for shapes and dimensions to the mighty mountain ranges of Val Bregaglia he grew up in. Always fascinated by the grandeur and possibilities of nature, his focus shifted to glass at the age of nine during a visit to the Iittala Glass Factory in Finland. He became completely enamored with the art of glass, and by the time he turned fourteen he had begun his first internship at Glasfachschule in Zwiesel, Germany, where he learned from the Bavarian Masters.

He went on to become an apprentice glass blower at sixteen, before going on to work in studios in Italy (Ber- nego Studio Murano,) Germany (Glasfachschule Zwiesel, Bildwerk Frauenau), Austria (Glashütte Comploj), Denmark (Tobias Møhl & Trine Drivsholm, Bakhaus&Brown) and the USA (Pilchuck Glass School, Penland School of Crafts, Corning Museum of Glass). Learning from those who devoted their entire lives to art, he developed a unique appreciation for the intricacies of glass, studying everything from the big picture to the smallest details. As a result he has an artistic voice that is strongly individual while echoing the works of his- torical greats.

Currently, Jonas is an Artist in Residence at The Royal Academy of Fine Arts in Denmark, allowing him the opportunity to further his craft and test new techniques. Among his new works are pieces focusing on lines floating in different depths to create a tridimensional effect, as well as the use of an innovative approach to resha- ping glass through modular reassembly, opening up new opportunities for sculpture.

The lines in „Floating Lines“ series are created by repeatedly folding glass, with the end result consisting of a collage of patterns within the multiplying layers. The patterns within are often so intricate they look as though they could have been designed digitally, but they are in fact made with practices dating back to the
middle ages. I’ve expanded upon ancient techniques to create a new approach in which graphical patterns are made by hand, creating complimentary layers the way a 3D printer might, while leaving open the possibility for chance. The similarities between modern 3D printers and the analog method of glassblowing are striking, each creating graphic patterns with a remarkable sense of depth.

Opaque colored lines float in the transparent material without touching each other, while the clear glass reveals lines that continuously appear and reappear within its depth, creating the sense of multiple surfa- ces interacting with one another. . The ultimate goal of my work is to create a tridimensional image within the transparency of the glass, calling to mind the structure of a three dimensional printed piece.