Alejandro
Master glassblower — Works blown glass directly onto organic materials. His work explores the exact point where fire transforms matter without destroying it.
ATELIER
A collective of artists and craftspeople working glass, wood, stone and iron from a single workshop.
THE ARTISTS
TAKSZU is not a brand. It is a shared workshop where each maker brings their discipline, their eye and their hands. Collective work does not dilute authorship — it multiplies it.
Gabriel
Cabinetmaker — Selects and prepares every piece of reclaimed wood. He looks in the natural form of the trunk for the structure the sculpture already holds.
Julio
Works metal and other materials to create structures that hold, embrace and put into tension the pieces of glass and wood.
MATERIALS WITH A SECOND LIFE
We do not fell trees. We hunt them.
Every piece of wood that enters the workshop has a previous life. Trunks brought down by storms, branches rescued from pruning, roots unearthed by erosion. We are not looking for perfect wood — we are looking for wood with memory. Selection matters as much as transformation. We walk forests, fields and riverbanks identifying pieces that already hold a latent sculptural form. Wood is not cut — it is found, rescued, transformed.
THE ART OF THE JOINT
Tension between masses.
Every object is built through the tension between masses. The point of contact between glass and wood, between iron and stone, is where the intelligence of the piece resides. We use no adhesives and no visible mechanical joints. Gravity, pressure and geometry hold each object together. A perfect joint produces a sense of vertigo — as though the piece were constantly negotiating its own balance.
GRAVITY
The artistic complexity of an object is not determined by its size, but by the complexity of the connection between its materials.
The artistic value of each piece grows with the complexity of the union between materials, and with the need for one material to hold the other. A small vessel where glass embraces a branch with millimetric precision holds more sculptural tension than a monumental piece of furniture. Gravity is not an obstacle — it is the invisible material that completes every work.
LOGBOOK
Notes from the workshop — research, travel, exhibitions and discoveries.
The first cut
The saw finds the grain and the trunk reveals its interior geography. Every first cut carries an irreversible decision: read the wood before transforming it.
The hand against the light
Looking at blown glass from within, searching with the fingers for the exact line where the thickness gives way. The workshop silent, the piece still hot.
Matter in suspension
Particles of oak hang for an instant before falling. Roughing out with the saw is the most violent gesture in the process — and the most necessary to find the form.
Rest between materials
Blown glass on rescued wood. Transparency resting on texture, the liquid upon the solid. Two different cooling times in a single object.