安德魯．布華頓．如是說

費茲．艾爾森（Fiaz Elson）在獲得玻璃設計學位前，受過服裝設計與藝術及銀器設計專業訓練。2001至2004年在柯林．雷德工作室擔任助手，之後成立玻璃工作室。她形容自己的創意哲學是複雜的，她認為運用玻璃材質創作，會產生張力、模糊、矛盾等感受，因此玻璃可以將記憶、情感與經驗隱藏、幽微顯現或揭示。她探索二元性和奇異性的形式結構，並結合文化、情感，呼應精神上的共鳴。

《神諭 2019》Oracle 2019/photo by Ester Segarra

她操控把玩各種角度折射的平面，對透明的內部與外部結構做不同嘗試，玻璃作為內在可以反射空間的一種材質，對色彩和光影之間互動的效果和影響，非常具有神秘感。她說：

「當我走進工作室的那一刻開始，我的創作便開始了，外在的世界被我完全遺忘。遊戲、素描、模型製作總是在我內心，都是我的靈感來源。」

《軌跡》Trajectory 2018/photo by Ester Segarra

《7》Seven/photo by Ester Segarra

Andrew Brewerton said……

Prior to her BA (Hons) degree in Glass Design, Fiaz Elson (b.1975) trained in fashion design, fine art and silversmithing. She worked as senior assistant to Colin Reid from 2001–4 before establishing her own studio practice. She describes her creative philosophy as complex, exploring formal tensions, ambiguities and contradictions inherent in the material properties of glass as the space of memory, emotion and experience – moments hidden, occulted and revealed. In structural terms she has explored formal structural themes of duality and singularity, the formal, cultural, emotional, or psychic resonance of two and one. For Fiaz Elson, working in her studio, the angled refractive planes, the play of translucent interior and exterior dimensions, the effect and the affect of colour and light in glass, become transmuted as alchemical elements of glassmaking as the crucible of interior reflection:

My work starts when I enter the studio and the world outside is forgotten. Play, sketching and model making are always within me, therefore always a source at any point of time.[1]

[1] Fiaz Elson, July 2019