In the 1990s, “Trojan horses” were computer viruses. A flash on the screen, and something disappeared forever.
Today, the horses look different. The ancient beasts are gone, but a new kind has crept in, gentler in appearance, but just as cunning. It follows your movements, climbs your spine, and smiles sweetly. It needs no rider. It looks like you. Only smoother, calmer. The awkwardness, the sweat, the untimely laughter is gone. It quiets your hunger. It keeps you smiling when you burn.
Fake gold still shines. But does something lose value simply because it doesn’t last forever? Isn’t fragility the very thing that makes us human?
Contain is an exhibition about visibility, power, and the stories we’re told. Curated reality paints chaos with surgical precision. Visual narratives are never innocent. They shape what matters, and who gets to be seen.
Welcome to Contain, opening August 28, 2025 at Gumbostrand Konst & Form.
Imagine you have ten seconds to shout your dreams into a glass microphone. Easy? Maybe, but when the moment arrives, the words get stuck in your throat.
The Dreamweaver piece, which debuted in Murano, captures visitors’ dreams through AI. These dreams are reflected through a two-meter-tall unicorn panel. The glass unicorn fragments light into the room: red light on one side and blue on the other side of the darkened space. The reflection of the dream is not clear. It requires a true gaze to be seen.
The large glass pieces The Lady and Echo were created in Kuopio at the Essis by Lasilinkki studio. Multidisciplinary collaboration is an essential part of the works. Photo: Juhamatti Vahdersalo.
The glass unicorn acts like a large surface filtering reality. The more we try to look, the harder it becomes. This time, filled with information and noise, suffocates us—when do we actually have time to dream? There is more to the world than just surface-level observation; it requires feeling.
Glass has always been a revealer of the invisible. A material that opens our eyes to both microscopic worlds in raindrops and to the universe beyond the stars. As a medium of art, it allows for an immaterial approach. The skill of glass is learned through touch. It reminds us that in art, as in life, the deepest meaning often arises from what we cannot see.
The Dreamweaver piece was exhibited in Murano at the SpazioB exhibition space. Photo: Juhamatti Vahdersalo.
In the white room stands The Lady, which changes color depending on the viewer’s angle. As we walk around her, she doesn’t change—only our perspective shifts. It’s rare to challenge our own prejudices and see others as separate from ourselves. At the same time, the piece invites touch. The two-meter surface is filled with grooves and shapes.
The works explore the relationship between humanity and technology, existing at the boundary between the visible and the invisible. Glass has always been one of the key technologies revealing the unseen, but what is our responsibility in this time when artificial intelligence is already part of everyday life? Who curates our dreams, and who truly owns them? And what about the future: do we have the right to the privacy of our dreams?
The AI-generated video piece reflected through the glass unicorn fragmented into the surrounding space. The technical implementation of the piece, including the AI aspects, was handled by Jarkko Takala, Tung Bui, and Ken Burridge. Photo: Juhamatti Vahdersalo.
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Glass is not a relic of a forgotten past, collecting dust on grandparents windowsills and abandoned in museums. Glass is alive. Glass is dangerous. And today, glass is a radical material for confronting the digital era. Welcome to see Dreamweaver exhibition to The Venice Glass Week 2024!
Essis by Lasilinkki in Kuopio crafted the monumental, over two-meter flat glass sculptures. In their studio, which specializes in architectural glass, they craft high-quality works with rare artisanal expertise. Multidisciplinary collaboration is a vital component of this project, bringing together unique skills to realize the vision of Dreamweaver.
We no longer live in a reality of our own making. Our world is now algorithmically curated, designed by invisible codes that decide what we see, how we feel, and even what we believe. We cling to technology like an infant to its mother, seeking comfort, validation, and guidance. Technology is our own reflection, both in its best and worst forms. It’s the mirror of our desires, fears, and failures, wrapped in shiny, seductive screens.
Are we becoming passive in this relationship? Are we surrendering our agency to a system that shows us only what it wants us to see? This is the question at the heart of Dreamweaver. Glass has always shown us the invisible—the world of cells beneath the surface of our skin and the universe hidden below the night sky. As a material in art, glass embodies the intangible layers of existence. It reflects the delicate balance between visibility and invisibility, making it the perfect medium to explore the deeper, immaterial dimensions of life.
The exhibition features sculptures that fuse plasma electricity, ethically sourced Finnish leaf gold, and cutting-edge technology. The gold, provided by Kultaus Oy Snellman, represents the finest in Finnish craftsmanship and ethical sourcing. The technological aspects are handled by Aalto University’s team: Jarkko Takala, Tung Bui, Ken Burridge, and Vivienne Wang.
At the heart of Dreamweaver is a two-meter glass unicorn created at theEssis by Lasilinkki studio’s in Kuopio, symbol of fantasy and dreams. But let’s not kid ourselves—this is not a pretty fairy tale. This unicorn reflects artificial intelligence’s stolen dreams, scattered and refracted into the physical world. The light bends through the glass like the distorted images we now see through our screens: beautiful, yes – but ultimately manipulated, twisted, fragmented. The Unicorn reflects that there is a kind of seeing that goes beyond looking. Sculpture invites youto gaze and touch, to feel a deeper connection. It calls you to engage with it, to read with your hands the hidden codes embedded within the glass. “We must wake up, but it’s too beautiful.” Like the artificial dreams AI projects back at us, it’s hiding a deeper truth: Technology is not passive, and neither should we be.
I reject the notion that glass should stay polite and quiet. In Dreamweaver, glass dares to challenge what we think we know. Glass is capable of shattering conceptually: It fractures the illusions we live by: Look around. We’re living in an era where technology is shaping our very existence that is like glass – something supposedly fragile – Strong, yet vulnerable. Transparent, yet concealing power.
Inside of the plasma-electric sculpture pulses ethically sourced gold from the untouched wilderness of Finnish Lapland. Gold, provided by master gilder Raimo Snellman and his son Mikko, is hidden within the glass, where it illuminates as a symbol of our connection to the earth, to heritage, and to responsible craftsmanship.
Sini Majuri, Dreamweaver SpazioB Campiello della Pescheria 4a, 30141 Murano 14th – 22nd September 2024
At New York Fashion Week, during the Flying Solo show, the audience suddenly fell silent, holding their breath. Ballet dancer Mira Ollila walked in an otherworldly slow motion above everyone with glass horns on her head and 35 cm high glass heels on her feet. Cinderella 2.0 had arrived on the catwalk!
The Infinity Vessel catwalk show was very personal to designersSini Majuri and Marja Hepo-aho. The collection mirrored the archetypes of femininity and engaged a discussion about how women are perceived in society. The archetypes – Madonna, whore, victim, forbidden woman, mother, old woman, evil, and matriarch – each represent both the societal woman and shared experience and relationship with femininity. Particularly, women’s rights and the right to their own bodies are at the forefront of the work as glass embodies humanity in the artworks.
35 cm tall glass shoes are made in Finland. The materials are 3D printed wood, blown glass and fish leather. Photo Barbara Raw.
Ballet dancer Mira Ollila’s feminine archetype was that of the forbidden woman. Veiled in a silky shroud, she moved as if floating in the air, yet the glass shoes weighed heavy. Walking in them demanded exceptional skill. Photo Barbara Raw
December 2023, glass was officially recognized and added to UNESCO‘s Intangible Cultural Heritage list, a testament to its global significance and the dedication to preserving its legacy. The Infinity Vessel initiative is building on this momentum by taking concrete actions to bring Finnish glass into new arenas where it traditionally might not be found – aiming to innovate and expand the cultural footprint of this craft by influencing contemporary culture and art.
NYFWis one of the world’s most prestigious fashion events. The challenges in the fashion industry relate to questions of how we value people and how these values are reflected in society, as well as ecological and ethical challenges in the industry. Clothing manufacturing and consumption practices impact the environment and human health, and the sexualization and objectification of the female body influence how women are treated and perceived in society. In the New York Fashion Week presentation, Infinity Vessel takes a profound look at fashion and clothing as phenomena deeply connected to humanity.
The archetype of the matriarch found its form only in the final moments, while we were in New York. The glass armor revealed the model’s bare chest. A large snake, laser-engraved and AI-illustrated onto Spinnova’sinnovative fiber, symbolized rebirth, the woman of the future. How will a woman’s essence change in the future, and what role does tradition and technology play?
Just before the show, the mother archetype emerged, representing discussions on women’s reproductive rights. The glass womb, wrapped in gold, symbolized both protection and burden—a reflection of societal pressures. Yet, the unbreakable golden knots hinted at resilience. This archetype was also featured in ELLE Magazine.
Infinity Vessel collection at Flying Solo fashion Show at Canoe Studios during New York Fashion Week 2024. Models Carl Nowak, Courtney McCoy, Gayeon Jang, Lara Jalloh, Ni Simone, Vivian Sun, Sydney Schnee and Mira Ollila
The team wore glass crowns at every event, even at the parties, attracting a lot of attention. Each glass crown is custom-made, with the human head 3D-scanned to create the mold. In the artworks, origin is important, even within the framework of fashion. Where do our clothes really come from, and who made them: Aino Simola shaped and created the costume pieces designed by Sini Majuri and Marja Hepo-aho at her studio in Riihimäki. Alexandra Holmes was in charge of printing the UPM-developed 3D-printed wood onto the garments. Inweb Oy manufactured the printing material in Finland. Tytti Porvari handcrafted the shoes using fish leather, Joonas Salo tufted the tufting-works in Helsinki.
We examined what kind of artwork a fashion show can be, and Mira Ollila brought a lot of depth to it with her physical expression. We wanted her in the piece because she has played a significant role in every Infinity Vessel work. In the first piece presented in Venice, she appeared in holographic art and augmented reality as a zombie. In the RoboBallet presented in Finland, she danced the dance of death with a Boston Dynamics robot. In New York, she walked in glass heels, adding a significant element of danger to her walk. No one else could have walked in them.
As the final countdown begins, Infinity Vessel team is gearing up for New York Fashion Week. The collection is a fusion of glass, tech and contemporary fashion, shaking the very foundations of how we perceive this ancient craft.
Infinity Vessel by Sini Majuri and Marja Hepo-aho is a statement. This year, they are transporting the UNESCO-listed glass art right onto the catwalks of NYFW, challenging the norms with their eight-part series of wearable sculptures. Each piece in this collection is a narrative, reflecting the spectrum of female archetypes, from the Whore to the Madonna.
Sini Koskelainen modelled for the Madonna architype in the images by Juha-Matti Vahdersalo.Caritapani wore a dress made from UPM:s 3D printed wood in photos taken in the Suomenlinna sea fortresses Pajasali, by photographer Juha-Matti Vahdersalo.
At the heart of this creative storm is Mira Ollila, a dancer who will walk 30-centimeter glass shoes, reminiscent of a futuristic Cinderella, bringing a physical embodiment to these powerful themes. These shoes, crafted by the skilled Tytti Porvari, are a mirroring the exquisite craftsmanship and daring innovation. The 3D specialist of the project, Alex Holmes has created sculptural parts from UPM:s 3D wood in collaboration with Aalto University.
The Infinity Vessel initiative is not just confined to the runways. It spills onto the streets of New York with a thrilling treasure hunt, democratizing the experience of glass art and making it accessible to all. This adventure blurs the lines between art and public participation, inviting everyone to engage with this once-elitist medium.
Moreover, a panel discussion at the Finnish Embassy will look into the future of design, addressing pressing topics in today’s world. The team, including cloth technican Aino Simola and tufting artist Joonas Salo, is a diverse mix of talents, each bringing a unique perspective to this project.
This venture is a commentary on societal values, ecological sustainability, and the ethical challenges in the fashion industry. It’s a reflection on how clothing manufacturing and consumption affect our environment and health, and how the portrayal of women influences societal perceptions and treatment. From collaborating with Boston Dynamics and Aalto University for the RoboBallet in 2023, to blending holographic art with augmented reality in Venice in 2022, this team has consistently pushed boundaries. Now, at NYFW, they’re set to redefine the role of glass in fashion, while challenging the elitist perceptions of this art form.
Representing Finnish identity, the team includes diverse collaborators like model Caritapani, Material Helsinki, Tikkitupa, Kalaparkki, Coolhead Brewery, and Pandan Lakritsi. Each brings a piece of Finland’s rich cultural tapestry to this global stage.
As the plane takes off for New York, with the final preparations underway, the excitement is palpable. Infinity Vessel is a movement, a dialogue between tradition and innovation, and a daring leap into the future of glass art and fashion. Stay tuned as this extraordinary journey unfolds at one of the most watched fashion stages in the world.
Sini Majuri made her debut on Danish television network DRTV’s program, “Verdensdamerne: Nordisk minimalisme og flammende glas i Helsinki,” a show that brilliantly showcases the beauty of Helsinki through its classical design and vibrant drag artistry. This intriguing blend of contrasting styles offers viewers a unique and colorful perspective on the city’s cultural landscape and brings together three captivating women, Lotte Freddie, Bente Scavenius, and Merete A. Baird, each with passion for exploring different cultures. See the episode from here.
Sini Majuri was invited to share her expertise on the program, introducing the viewers to the world of glass artistry as well as Suomenlinna sea Fortress. Majuri demostrated a graal technique, an ancient glassblowing method characterized by its intricate layering and time-consuming process.
Read an article Forging Art From Molten Glass by wonderful Penelope Colston from The New York Times with the images taken by Vesa Laitinen. Majuri’s art blends modern technology with traditional glassblowing techniques. Her Suomenlinna workshop, set in a historic UNESCO island fortress, serves as the backdrop for crafting pieces exploring themes such as human nature and femininity. Read the article from here.
Infinity Vessel glass crowns can be ordered online. Every piece is custom made to the person’s head. Also the earrings and the dress are made by hand. Image by Vesa Laitinen.Mirrored can be found from Taiko online gallery. Image by Vesa Laitinen.
The New York Times feature is Sini Majuri’s childhood dream come true. Majuri, hailing from the rural town of Suonenjoki, overcame the challenges of learning English in a small town where it wasn’t the easiest task. Her childhood dream of reading the New York Times in English marked the beginning of a journey that led her to the very pages of the renowned publication. Majuri expresses her love and gratitude, acknowledging the invaluable support of her closest colleagues and friends. Marja Hepo-aho, the glass art sorceress, played a pivotal role, along with the entire team behind the Roboballet project, including dancer-choreographer Mira Ollila, Heidi Lehtoranta, Petri Pulkkinen, Janne Jääskö, Craneworks, and Aalto University’s Joni Pajarinen and his research team. A heartfelt nod also goes to Berengo Studio for opening its doors to the Infinity Vessel project, providing a space where teams creative visions could flourish. The journey wouldn’t be complete without acknowledging the pivotal roles played by Hytti Glass Studio and the Suomenlinna community, both integral parts of Majuri’s artistic family. These collaborators have consistently provided support, inspiration, and a nurturing environment for her groundbreaking work. Gallery G12’s Anni Koskinen, where she held her first exhibition in Finland, as well as to Keskusgalleria in Tampere for warmly showcasing her sculptures. Gratitude was also extended to Momono and Taiko Galleries. Special mentions went to Suonenjoki City and her family for unwavering support throughout her life’s journey. The realization of Majuri’s childhood dream is not just a personal triumph but a collaborative spirit!
In the video made by OneMinStory, glass artist Sini Majuri reveals the symbolism and inspiration behind the award piece as she shapes it in the historic surroundings of Suomenlinna.
It was a great experience to design an award for the Finnish Family Business Association. The choice of using mouth-blown glass as the material for the award resonates with the heartbeat of family entrepreneurship. Glass, a globally rare art form with a nomination pending for UNESCO’s Intangible Cultural Heritage list, echoes the delicate balance of strength and fragility. It’s a dance of temperature and timing, much like the steady pulse that sustains a living being. In each glassblower’s breath, there’s a rhythm that shapes the material, paralleling the heartbeat of family-run businesses that throb with passion and dedication. Each generation brings its unique breath to the process, infusing the business with fresh ideas while maintaining the warmth of tradition.
Hearth is not just an organ that sustains life. It’s a universal emblem of love, passion and enduring strength – qualities intrinsic to the soul of family entrepreneurship – lifeblood of commitment and the pulse of generations working harmoniously.
Since the establishment of the award in 2004, and its renaming in 2012 as the Peter Fazer Award, the award celebrates the symbiotic relationship between tradition and innovation. This year’s recipient, MSK Group Oy, stands as a testament to this idea. As a multifaceted high-tech family enterprise, they exemplify the heart’s resilience – pulsating with a blend of heritage and modernity, echoing the continuous rhythm of progress.
Blowing the Glass Award for Family Businesses in the Historic Suomenlinna Glass studio Hytti.
The creation of the glass heart, a process rich in tradition and precision, was a narrative beautifully captured by Antti Sipilä and Samppa Fjäder from OneMinStory‘s team. Their documentation brought to light to the artistry of glassmaking. It’s interesting how the development of lenses, a milestone in human history, was predicated on the mastery of glass, illustrating the profound influence this material has had on our perspective of the World. Similarly, family businesses embody a cornerstone technology within the social fabric.
In every family business, like in the breath-controlled art of mouth-blown glass, there’s a steady, rhythmic beat of adaptability. This glass heart reflects the enduring spirit of these enterprises. It’s not just a symbol of recognition; it’s a metaphorical echo of the heartbeat that drives family businesses. In the core of every endeavor, there lies a pulse, a steady throb of identity and passion, pulsating towards a future that reveres its past while boldly embracing the new.
The video of the process is by OneMinStory.
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If a glassblowing time traveller from the medieval era were to materialise in the Suomenlinna Glass Studio, they would likely navigate the workshop effortlessly. Hand tools and even the blowing bench have endured relatively unchanged. However, if the time traveller were a future AI cyborg, it would bring a whole new dynamic to the studio! In the world of artificial intelligence, there’s a noticeable gap in understanding traditional crafts. For instance, when it comes to glassblowing, the AI seems to mix up the tools with those used by electricians and blacksmiths. While these features are still evolving in visual AI applications, they intriguingly reflect aspects of our society – sometimes brutally honestly, especially when it comes to stereotypes.
AI does not yet comprehend glassblowing, or at least it holds a highly futuristic perception of it. Sin appears in the eyes of artificial intelligence as a characteristic linked to women. My assumption is that software like MidJourney relies heavily on imagery from popular culture, further reinforcing connections to human traits and characteristics. This trend is increasingly shaping associations with various aspects of personalities and features
The questions arise: What do researchers from Finland, Sweden, or Norway look like? How about a New York street cleaner? The pursuit of these answers embarks on a journey I undertake in December with the support of the Kordelin Foundation. It’s a great opportunity to start an art project that blends glass and artificial intelligence. My intention is to capture stereotypes in the early stages of visual artificial intelligence programs. Technology is a mirror reflecting the complexity of humanity. Visual AI applications mirror societal assumptions about social classes and backgrounds. Image recognition, for instance, can paint a picture that people in certain environments or wearing specific types of clothing belong to a particular social class.
I filter this data through the ancient techniques of mouth-blown glass. It offers a unique opportunity to scrutinise stereotypes through the intangible medium and see into the intersection of technology and art. Can technology operate as the medium of art and what is its potential to challenge, transform, or reinforce our perspectives on the world? The synergy of ancient glassblowing and modern AI creates a space where contemporary stereotypes can be critically approached through art.
What does a liar look like? Well, as a bearded man in a hoodie? Lying, deceit and evil people are the characteristics connected to this orange hooded archetype. The recurring appearance may stem from both the training data used and the algorithm’s generalising nature in response to specific search commandsIn the eyes of artificial intelligence: a New York City street sweeper. I am interested in how nascent AI applications reflect societal stereotypes. Generalisaitons related to professions and gender are widely acknowledged issues, and it’s certain that they will evolve rapidly in the coming year. In the artistic process, I also pay attention to this change.In depictions of mental illnesses, such as schizophrenia, generated by artificial intelligence, recurring patterns include faces that predominantly represent men – who look like they’ve been snipped straight out of Netflix . In image generations, for instance, the phrase ‘evil person’ primarily produces images of older men.
I’m interested in introducing more people to the fascinating world of glass and keeping it accessible. I’m part of a multinational project pushing to get glass recognised on UNESCO’s prestigious list. But let’s face it, having a fancy status isn’t enough; we need to take real action and spark fresh interest in glass art. The craft is fading fast worldwide. As the glass experts exit the scene, their endangered know-how is quietly slipping away. My ambition is to act as a catalyst, pushing the industry forward through inventive collaboration
As we stand at the crossroads of time, where the medieval craftsmen and the futuristic AI cyborg converge in the glass studio, it becomes apparent that the journey undertaken is not just through the lens of art and technology – it is a narrative that mirrors the complexities of our evolving world.
Thank you Kordelin foundation for the support! #kordelininsäätiö #kordelininsäätiöntuella
Snake-shaped chandeliers that weep tears, symbolize the complexities and struggles of domestic life. Snake is a symbol of rebirth and transformation, and a metaphor for the primal, animalistic urges that lie dormant within us. In many cultures, snakes are seen as both symbols of healing and destruction.
Homes are more than mere structures that we inhabit. For they serve as reflections of our innermost thoughts, emotions, and concealed identities. Sini Majuri’s latest sculpture series delves into the non-physical dimensions of our existence.
Sini Majuri’s glass exhibition is open in G12 Gallery in Helsinki from April 22 till May 11, 2023. Pieces blend the tangible and intangible, the old and new, and the handmade and digital. By blurring the lines between art and science, Majuri hopes to capture the ever-evolving nature of art and the human experience – and challenge viewers to consider is it possible that technology could unlock new depths of creativity – Or will it ultimately lead to a loss of authenticity and soul?
The glass sculptures portray layers of feminine countenances of the human psyche. By toying with ugliness and beauty, these works invite to think about the intricate nature of human perception and the multifaceted dimensions of aesthetics. Similarly, the image of a woman with layered faces represent the different roles that women play in society, as well as the complex nature of femininity itself.
Majuri’s work portrays homes as both a sanctuary of comfort and a site of trauma, using symbols like the weeping serpent and layered women to represent the nature of our subconscious. Glass, with its transparency and fragility is a metaphor for the human mind, which is complex and multifaceted. We may curate our homes to reflect a certain image or ideal, but behind closed doors, there may be hidden struggles and complexities that we keep hidden away from view. Antimatter series is showcasing both the light and the dark aspects of domestic life. While Finland ranks as the happiest country in the world, domestic violence remains a significant problem. The transparency of glass reminds us that what we see on the surface may not always be the full story.
Antimatter series mirror the theme of Homes, how they are the vessels of our being, the repositories of our memories, for they are more than mere structures that we inhabit. Sculptures also offer a reminder that healing and growth are possible, even in the face of trauma and adversity
Glass as a medium highlights the idea of transparency and the power of seeing through barriers. In the same way that glass reveals what lies beneath its surface – sculptures invite viewers to explore the hidden layers of our own consciousness and the stories that we often keep concealed. Transparency underscores the importance of vulnerability and honesty in our relationships, both with ourselves and with others. Glass is a material that is both fragile and strong, transparent and reflective. These qualities are a metaphor for the contradictions and paradoxes that we encounter in our lives.
Sini Majuri’s Artist Meet 4.5 at 12.00 in G12 Gallery, Annankatu 16.
Listen Sini Majuri’s interview in Radio Helsinki from here.
Contemporary Glass Art 
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