‘I was excited to be a part of the glass movement in India’: Glass Artist, Grant Garmezy

You never really understand why it’s called glass blowing until you see it happen in person. I don’t quite remember what I was expecting, but I know I could only look on in awe as an orb of melted glass expanded before me, rather aptly “blowing” up like a fiery balloon, at the Rural Modern Glass Studio by Arjun Rathi. As a glassware designer himself, Rathi personally made his way across the room, explaining to each guest, about the complex, delicate process we were witnessing.

Unlike many art forms, glass blowing, particularly hot sculpting, appears to be collective effort, synchrony being a key component. A long, heavy metal rod that held the molten glass, was passed around almost every 30 seconds; from the furnace worker to the assistant glass blowers to the lead glass blower. Heat, time, gravity and pressure– this is what took a formless blob into complete, detailed pieces of art.

The man leading the group, strong and focussed Grant Garmezy who had a penchant for animal sculptures, was moulding what was to become almost a 1-meter long fish. This formless blob then, was to take shape into a creature that had a life of its own by the end of a 2-hour long process.

One might wonder what a craftsman from Nashville, Tennessee was doing here at Arjun Rathi’s studio in Mumbai. In an attempt to advance production techniques in glass blowing, Rural Modern Glass Studio regularly invites artists like Garmezy and creates a space conducive to an exchange of expertise between international and local glass blowers. A few of these artists include Jeremiah Jacobs, Brent Sheehan, and Matthew Piepenbrok.

These collaborations lead to experimental works, often inspired by Indian motifs and symbols. In the case of Grant Garmezy, his works explore hyper realistic recreations of iconic Indian wildlife, some adopting surrealist elements, gilded by local artists. He uses a hot torch and a variety of hand tools to manipulate the glass instead of the more common  moulds making each and every piece truly unique.

We spoke to Grant Garmezy to understand his artistic process and what his experience has been working in India so far.

For your first visit to India, why did you choose to collaborate with Rural Modern? What was it about Arjun Rathi Designs that you felt an affinity towards?

I first saw Rural Modern on Instagram, and I was intrigued by the studio and the location. I had seen videos of other glass studios in India, but they were more factory-style. This was the first time I learned of a glassblowing studio in India that focused on creating bespoke lighting and artwork. After connecting with Arjun, I was excited to visit his beautiful studio, explore a new part of the world, and be part of the burgeoning glass movement in India that Arjun is spearheading.

Arjun Rathi is one of the very few designers completely focussed on glass as a medium for art. What about glass is exciting to you? Why not clay, metal, or any other material for your sculptures?

My artistic career began with drawing, sculpting, and metal work. It wasn’t until I was enrolled in college that I discovered glassblowing. I was drawn to glass as an artistic medium because of the excitement, the challenge, and the teamwork required.

Do you ever experiment with materials, perhaps through mixed media?

The majority of my work is created with glass, but I do use silver and gold gilding to enhance the material. I also had to learn welding, metalwork, and stone manipulation in order to create the armatures for my pieces.

On your website you mention that you don’t have much of an interest in creating “functional” glassware. Can you tell me why?

Functional glassware has a long history, often associated with utilitarian purposes. Craftspeople perfected the art of creating perfect goblets and functional forms long ago. Rather than repeat what has already been done, I am more interested in creating something new. Sculptural glass invites viewers to engage with the medium purely for its aesthetic and emotional impact. It provides a platform for storytelling, where I can convey narratives, emotions, and abstract ideas with my work.

The differences between your and Arjun’s works really highlights the scope of glass blowing. Is there a reason you decided to focus on this photo-realistic style?

I strive toward realism because of the challenge it presents. I use the oxygen-propane hand torch to add details and textures that bring pieces to life. While abstract animal forms are certainly beautiful, I can’t stop myself from pushing for more – more details, more texture, more realism. There is an inherent risk in pushing myself, my team, and my work to those limits. The longer I work on a piece, adding intricate details, there is more risk of something breaking or losing shape. But, I thrive in those moments of working on the edge of failure. That makes the successful pieces all the more worth it to me.

I notice you create a lot of animal-inspired sculptures. Is there any particular reason for this? Do feel like glass lends itself well to these kinds of pieces?

My work is inspired by animals and the natural world. Animals hold deep symbolism across cultures and epochs. They represent qualities like strength, wisdom, freedom, and vulnerability. They inspire stories—mythical, allegorical, or personal. They provoke emotions—awe, tenderness, fear, or admiration. Sculpting animals allows me to tap into this rich symbolism, forging a connection between the natural world and human experience.

Glass is a challenging material to create hyper-realistic natural forms, but I love that I am able to change the surface of glass into something else. Glass wants to be round, and it wants to be smooth and shiny. I like to push the material to look like something else – be it fur, dragon scales, or feathers.

Your website says you want to capture “expression and movement in your work in order to elevate it from a sculpture to a story.” What stories do you hope to tell while you’re here in India?

India is a place more alive than anywhere I’ve been. It is rich with history, cultural narratives, patterns, complexity, and a range of landscapes from natural beauty to vibrant cities. I’m deeply inspired by the culture, history, and natural beauty that this country offers. I want to capture the interconnectedness between humans and nature, emphasising the need for conservation and stewardship of the environment. Indian mythology is already teeming with colourful characters and stories that have been passed down through generations so I aim to reinterpret these myths and legends through my sculptures.

How might these stories compare to your previous works?

The central aspects of my artistic vision remain the same regardless of location: capturing movement, ensuring attention to detail, telling stories. The work I created in India incorporates new cultural influences and motifs specific to the region. I’m reflecting the sights and sounds I encountered during my visit. The symbolism in the artwork mirrors India’s spiritual and historical context – specifically the cobras, Ganesha, the dagger series (inspired by a visit to a local museum), and the gold gilding based on traditional Indian art and calligraphy.

How would you describe your oeuvre?

My oeuvre represents the essence of my experiences and journey as an artist. From my travels, to my exploration of nature and mythology, my art covers a diverse range of themes and inspirations. Throughout my body of work, I strive to showcase my technical proficiency, transforming molten glass into intricate sculptures that stir emotion and inspire wonder.

How do you think your work might be different to commercial artists with regards to ideation and technical process? What do you think you do differently?

Unlike commercial artists who often create with a specific market or client in mind, my ideation process is deeply rooted in personal expression. I draw inspiration from my own emotions, observations, and creative vision. While commercial artists may focus on producing work that meets certain market demands or aesthetic trends, I prioritise exploration and experimentation in my technical process. I am constantly pushing the boundaries of what is possible with glass, exploring new techniques and approaches to bring my artistic ideas to life. My pieces are also crafted by hand unlike mass produced glasswork, and they prioritise layers of meaning and narrative depth rather than decorative appeal.

You can visit Grant Garmezy’s website to see more of his work or commission pieces. Also visit Rural Modern Glass Studio’s website for more information on workshops, exhibitions or to purchase pieces.