Sculptor and Glass Designer
Born 1948 in Roznava, Slovakia (formerly Czechoslovakia)
1963 - 1967 Studied at 'Secondary School of Art Glass Making in Zelezny Brod, Czech Republic.
1967 - 1973  Further study at the 'Academy of Fine Arts' in Bratislava, Slovakia - Studio "Glass in Architecture" headed by Professor Vaclav Cigler, covering the design and practical realization of all available art glass making techniques, theory and the teaching of art. Gained a 'Degree in Art Sculpture', a 'Teaching Certificate' and the title "Academic Sculptor".
1973 - 1982  Lived and worked as a freelance glass artist in Bratislava, Slovakia. Participated in many national and international glass and sculpture exhibitions, gaining international recognition. Undertook commissions throughout Czechoslovakia in co-operation with architects and other glass artists.Personally designed and crafted sculptures from solid optical and coloured glass for European and American patrons
In 1981 was selected in 'The Corning Museum's' "New Glass Review 2".
In 1982 immigrated and settled in Adelaide, South Australia.
1983 - 1985  employed by 'The Jam Factory' Craft Centre to set up glass cutting and polishing workshop, to assist in the design of new production line and to train apprentices. Became partner in "Novart Glass", designed and produced optical glass sculptures, many commissioned for trophies and awards.
Developed technique to unite optical glass sculpture with precious Australian Opal.
In 1985 established own business "Uniart Glass".
Continued to create original optical glass sculptures, many with opals, for selected galleries, nationally and internationally, a series of sculptures for VIP Gifts for The Prime Minister and Cabinet.
Commissioned, after winning Australia-wide competition, to design and produce a series of sailing trophies for all pre-races and the 1987 America's Cup Match.
Other commissions include: 'Australian Design Awards', 'The Prince Philip Prize', 'Australian Business TOP 500 Awards','W.A.Architecture Design Award',
'S.A. Manufacturer of the Year Award', 'Telstra Small Business Awards' and a number of others. Has the most completely equipped studio and workshop for cutting and other techniques including kilnwork.
In 1991 formed partnership with Daniela Tomecko (nee Marth).
Invited by 'Ausglass' to lead the glass sculpturing workshop in Sydney.
Spent two weeks lecturing at Canberra Institute of Arts - Glass Workshop.
1997 Won 1st Prize in category Sculpture at the 'AIM 97' Art Exhibition in Adelaide.
Changed business name to CRYSTALART.
Currently working on commissioned trophies and awards. Continuing to design and create original works (for galleries, exhibitions and private collections) in partnership with Daniela Tomecko and singularly, with many designs incorporating Australian Opal.

ARTISTS PROFILE
Having worked with glass for more than 30 years, I do not believe that there exists a superior medium for sculpture. It Allows us not only to view the outside of the form but also to view the inside and often multiple shapes and facets at the same time. Optical glass is, however, technically and aesthetically difficult to work with. Because of its clarity, it simply does not allow one to get away with mistakes. It requires painstakingly long hours of manual precision, workshop full of equipment and a comprehensive knowledge of process.
In a simplified description of this process, a basic form is designed, a mould is made and the glass is cast and allowed to anneal. From here, cutting, grinding and polishing in less than a day can complete a small piece. With many more steps in their production, large complex works suitable for international exhibitions can take months to finish. Mistakes near the completion of such piece are unthinkable since it usually means starting again from scratch.
Such large works tend to have certain requirements once completed. Perhaps the most important of these requirements is suitable lighting. The purity and clarity of optical glass is so high that we are really looking at light rather than the sculpture per se. Almost as important as quality light is a requirement for the viewer to have an open and inquiring mind. Just as a painting or photograph on a (virtually) flat surface can give one the illusion of depth, my sculptures in 3-D offer the view of a 4^th dimension. I believe that the almost infinite complexity of reflected shapes and the vista of enormous space within a limited volume offers insights into the human mind and physical existence.
I must acknowledge the influence of Vaclav Cigler, my mentor for six of the ten years I've spent in formal art and glass education. His wealth of technical knowledge and his fundamental style in geometric form have helped me greatly in realizing some of the creative possibilities in optical glass. Where a piece of mine has a figurative or natural form, my main influence is the controversial Romanian born Parisian sculptor Constantin Brancusi. To me, his philosophical influence probably exceeds that of any modern sculptor of the 20^th century, including Rodin.
Another influence in my work is Australia itself. I say 'in' my work because many sculptures including the 1986-87 America's Cup Trophies utilize the beauty of an ancient natural glass-Australian opal. Creating pieces for use as trophies is an area of my work in which I am glad to have the patronage of the Australian Design Awards Office. I produce the Design Award Trophies as well as sculpture trophies for the Australian Business Monthly Top 500 Awards, the W.A. Architecture Design Award, Telstra Small Business Awards and many more.
In 1991 I married and formed an artistic partnership with lovely Daniela Marthova, a glass sculptor and designer who specializes in colour work. Like me, Daniela holds a tertiary degree in art sculpture and the title of 'Academic Sculptor', from the Academy of Fine Arts in Bratislava, Six of the ten years she spent in formal art education at the Academy have been under the rising star of Askold Zacko who is Vaclav Cigler's replacement and a close friend of mine. Daniela gains inspiration from natural forms as seasides and cliffs and translates into glass her own designs using the contrast between clear and colours. Together we have produced a number of sculptures incorporating colours and designs that are quite different from my individual work.
Although it can be a long and sometimes painful experience bringing the subconscious to physical reality, I still have strong belief and confidence in my work. I am happy with a piece when it looks extraordinary and shows the clarity of the material, when it is technically daring and has a perfect finish. Looking around such a piece will cause fundamental changes in what one perceives. Surrounding it with a different location will also cause changes as it reflects and refracts the Very light that influences what we perceive.
Having worked with glass for more than 30 years, I do not believe that there exists a superior medium for sculpture…