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Maracaibo, Venezuela. 1962.


Architect 1989 | Glass Artist since 1995 | Ana Maria works in different glass techniques focusing on the integration of glass sculptures and installations to architectural spaces. In 2004 she pursued her studies in kilncasting at Pilchuck Glass School with Susan Balshor†  and Carol Milne.  Since then she has attended several Bullseye Glass workshops and conferences  where she has taken classes with renowned artists such as Silvia Levenson, Richard Parrish, Narcissus Quagliata and Judy Tuwaletstiwa. She has been awarded 4 times at the Fire Arts Biennial in Valencia, Venezuela, a juried show that is held since 1971. Her work is present in private art collections throughout the Americas and Europe. She has participated in important art fairs such as Art Miami, Art Palm Beach, Art Context, Artbo, Fia, Fiaam, just to name a few. Her work has been exhibited in Venezuela, USA and Europe through a number of individual and collective art shows. Her work is present in galleries in Belgium, Austria, Venezuela, and across the USA. She is a board member of the Centro Bellas Artes of Maracaibo; the main Art Center, Theater and Museum in her home town. Currently she is based in Miami, Florida, where she opened her studio in 2022.


Ever since I have been making art, I have had several investigations going on. I continue to explore all of them, some times simultaneously, or one or two at a time. I explore colors, the way they relate to each other, I explore movement and flow, the liquid characteristics of glass. I explore textiles and how I can translate it’s qualities to glass. I explore light.

My background in architecture helps me integrate my pieces and installations to architectural spaces. My training in glass has been at Pilchuck glass school where I learned kilncasting with Susan Balshor and Carol Milne. Going to BECONS at Bullseye glass in Portland, Oregon has been an important part of my formation. Taking workshops with Richard Parrish, Narcissus Quagliata and Silvia Levenson has broadened my vision of glass art and it's possibilities. The most important part has been the practice, the endless experimentation and above all the WHAT IF?.

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