I have been lucky to work with such glass artists as James Carcass, Gergely Pattantyus and Janos Polyak. As a digital crafts specialist with a keen eye for education, I am interested in analyzing the body-object interaction when the material temperature is above 1000C and constantly moving thanks to the viscosity. A glass designer works. In this 'complex and effective feedback loops between movement and bodies of materials: the timing is inextricably interwoven with the glass transformation temperature, and the material is indirectly connected to the practitioner, and the material data is detected through the tools used' (Dezso 2021)

Glassblowing and Flamework workshop

MOME Technology Park (TechPark)




Grant of National Cultural Fund of Hungary development of a glass collection


2022 National Group Exhibition HOMAGE A’ GLASS, De la Motte-Beér Palota, Kiskép-Galéria
2022 National Group Exhibition 4.th GlasSpring - Magyar Kortárs Üvegművészeti Kiállítás a Klebelsberg Kultúrkúria (https://issuu.com/lendvaipeter/docs/glasspring_2022_issue)

The applied co-Ability framework in glassblowing points to the junctures where contextual situations, traditional glassblowing techniques as a real-world action and cultural heritage intersect.

The characteristics of handmade melted glass production give a strong sense of belonging to the members of the crafting community. Glassmakers, through their actions and educational activities at the local level, show that the tradition survived through the practitioners who are passing it on in person. The inscription could therefore highlight that intangible cultural heritage is based on collaboration between generations, men and women, biological and artificial thus providing a sense of sharing a common cultural cohesion within. Melted glasswork is an applied statement of the theoretical position of co-Ability. The manifestation of ‘head’ and ‘hand’ + ‘materials’ + ‘tools’ in the intangible know-how critically addresses the transversal form of non-synthetic understanding of the relational bond that connects us. The methodological comprehension of the co-Ability framework depicts the morphological interrelation of technology, bodies, and cultural theory.

2022 Glass has been recognized as the International Year of Glass 2022 by the United Nations General Assembly. This identifies the importance of glass by claiming: that from the Romans through the high-tech innovation of today, glass has always been by our sides as part of civilization, science, art and culture. It’s time to celebrate this iconic material’s past, present, and future and reflect on how it’s driving progress towards UN Agenda 2030 goals.

The common ideology of arts and crafts suggests that the craftsman develops the idea of an object and then anticipates the creation process in mind. The practical part is where the precomputed and evaluated procedure is executed. Instead, the bodily experiences of an individual in glassblowing can also be a description of the primary understanding of the world. Tracking the embedded co-Abled part of the investigation through the collected data can lead to sustainable social innovation. Since we are living in a period when technology is increasingly integrated into our everyday
life, the scope of discussion here needs to be extended to Posthuman Studies (Braidotti, 2016, 2013; Goodley et al., 2014) that invite co-Ability to be part of a broader movement with ongoing debates on complex contemporary problems.

Gergely Pattantyus

James Carcass

Janos Polyak

Renata Dezso