We caught up with the brilliant and insightful Aika Raymond a few weeks ago and have shared our conversation below.
Hi Aika, thanks for joining us today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?
My work would not be possible without the support of others.
In glassmaking, we deal with materials heated to over 700°C, which makes it essential to work as a team. I communicate the shape and movement I envision to my assistants, and together we manipulate the molten glass to bring the form to life. It’s not something I can do alone.
I also spent about four years as an assistant to my professor. Through that experience, I learned not only technical skills, but also how to share ideas clearly with others, how to read the rhythm of the work, and how to respond in real time. These are things you can only learn by being in the studio, working alongside others.
Looking back, I believe that experience was the most valuable part of my development. If I could have accelerated my learning process, I would have tried to get involved in collaborative work much earlier and understood the importance of working with others sooner.
One of the biggest challenges I continue to face is communicating the image I have in my head to others. No matter how clear the vision is to me, it doesn’t mean much unless I can share it effectively with those I work with. I’ve had to experiment with language, sketches, and gestures to bridge that gap. While I’m still refining this process, it’s also what makes collaborative creation so fascinating and meaningful to me.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
I am currently a first-year master’s student studying glass art at Tama Art University.
I am drawn to both the delicacy and strength that glass as a material possesses, and this duality continues to inspire my creative practice.
My primary technique involves creating my own colored glass rods (known as canes), carefully arranging them inside an electric kiln, and forming them as they heat. Timing is critical—when the temperature exceeds 700°C, I work closely with an assistant to remove the softened glass and shape it all at once. This process requires intense focus and close coordination. I’m fascinated by the challenge of capturing the exact moment when the glass becomes fluid and transforming it into a solid form.
What do you find most rewarding about being a creative?
One of the most rewarding aspects of being an artist, for me, is seeing how people engage with my work during exhibitions.
When someone is truly drawn to a piece, they often pause, take their time, and for a moment, seem to forget the noise and stress of everyday life.
The idea that something I created can offer a sense of calm or even transport someone into a different, almost unreal experience—that is what makes it all worthwhile.
Is there a particular goal or mission driving your creative journey?
Before I began working with glass, I spent six years painting with oils. Naturally, I assumed I would continue studying oil painting at university.
However, just before the entrance exams, I happened to visit a museum where there was a special exhibition of glass art.
I was deeply moved by the beauty of the transparent glass—it was like nothing I had ever seen.
At 17, I was struck by the realization that something so beautiful could exist in the world.
That moment stayed with me, and I began working with glass because I wanted others to feel the same sense of wonder and emotion that I experienced.
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