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The Philosophy of a Glass Artist Who Breathes Life into Light & Heat: Jeremy M. Wintrebert
Based in the historic Viaduc des Arts in Paris, glass artist Jeremy Maxwell Wintrebert combines traditional craftsmanship with contemporary form to create works that embody a unique philosophy. We explore his remarkable life journey, his perspective on glass, and his vision for the future of craft in the age of AI.
PROFILE
Jeremy Maxwell Wintrebert
Born in Paris in 1980 and raised in Western Africa, Jeremy Maxwell Wintrebert is a French-American glass artist. After honing his skills in workshops across the US and Europe, he established "JMW Studio" in 2015 in Paris’s 12th arrondissement, within the Viaduc des Arts. Specializing in free-blown glass, he produces large-scale light sculptures and installations. Viewing glass as a “language of light,” he pursues themes of creation, transmission, and dialogue with the city.
Childhood in Africa & the Path to Glass
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Wintrebert’s encounter with craftsmanship traces back to his early childhood in remote Western Africa. Living without electricity, telephones, or even shops, all essential furniture and daily items were made by local artisans.
“Everything we needed—furniture, tools—was made with someone’s hands. My parents had a deep respect for artisans, and handcrafts were indispensable in our daily life,” he recalls.
Unable to attend school, young Wintrebert began working in artisans’ workshops from an early age. This experience naturally led him into the world of handcrafts.
“My meeting with glass was a bit more mysterious. I’d been exposed to various materials like wood and ceramics, but glass alone remained a mystery to me, and I didn’t understand how it was made. Still, I had an instinctive sense telling me that ‘this is something liquid, something that can be melted.’”
After moving to America, he attended high school and, upon graduation, decided to pursue a career as an artisan. The proximity of a glass studio led him to immerse himself in the world of free-blown glass—a technique that shapes glass by breath rather than molds.
Taking on the Challenge & Founding His Studio in Paris
After ten years of apprenticeship, Wintrebert chose to base himself in his birth city, Paris.
“When I considered where I could realize my ambitions, Paris—the city of art, design, and fashion—came to mind. But when I arrived, there were hardly any glass studios in the city. That actually felt like a great opportunity; the fact that no one else was doing it meant there was an opening.”
His "JMW Studio" occupies a space within the historic stone arches of the Viaduc des Arts in the 12th arrondissement, built in the 1850s. The tranquil, cathedral-like setting, where light and resonance meet, was a perfect stage for his “sculpting with light.”
“I have always lived outside of established systems. That’s why I wanted to challenge myself in a structured city like Paris. When I first arrived, I had neither funds nor connections, supporting myself through odd jobs like moving work.
“Everyone told me it was impossible to open a glass studio, yet seven years after moving to Paris, I was able to start my own studio with friends in 2015. This space, bathed in light, is completely in sync with my work. That’s why it made sense to set up my studio here.”
All of JMW Studio’s works revolve around the elements of “light” and “heat”—forces close to the origins of life itself. The technique of glassblowing involves controlling a material that fluctuates like a liquid, while condensing beauty that exists only in that fleeting moment.
“Light is a fundamental element at the beginning of life. Molten glass emits both light and heat, which are the essence of life itself. One of the key differences between a living and non-living body is whether it holds heat. Glass, meanwhile, is like ‘frozen water’ that reflects light—seemingly still, but always shimmering on its surface and within. It’s mesmerizing.
“When I begin working, the glass is at its most brilliant. But as it’s shaped, that brilliance fades, and by the time it’s finished, the light is gone. In a way, I accompany the ‘death of light’ while giving it an eternal form. There’s a deeply poetic beauty in that process.”
This one-chance-only process demands focus, team coordination, and repeated, choreographed movements. Even a single drop of sweat or a change in room temperature can ruin a piece. Yet, Wintrebert says that this work is “a source of calm strength and tranquility that always brings me back to my center.”
His Vision for Succession & Expansion
While preserving tradition and creating innovative works, how does Wintrebert view the succession of technique?
“I don’t use the word ‘technique’ very often. To me, it’s a ‘language.’ It’s a dialogue between the movements of the body and the material, aiming toward a single goal. That relationship itself is what technique means to me.”
“This ‘language’ has survived by being handed down from person to person for about 6,000 years. But now, I feel a real sense of crisis that it is disappearing.”
“For an artisan, the most important thing is to ‘pass on what you’ve received.’ That’s an artisan’s ethic, and it embodies the essence of craftsmanship—circulation and gratitude. That’s why I need to grow the studio. I want to hire and teach more people, to hand this language to the next generation.”
“Glassblowing is just the tip of the iceberg in the glass industry’s ecosystem. If there are no blowers, the people who make the tools, the kilns, and the colorants will also disappear. To protect that whole ecosystem, I want to increase the demand for blown glass.”
This philosophy is reflected in the studio’s operation: tasks rotate, and every staff member is cross-trained to prevent the concentration or loss of knowledge. He is an artisan, a manager, and an educator, all driven by the mission of preserving this “disappearing language.”
Searching for “Traces of the Human Hand” in the Age of AI
Wintrebert comments on the relationship between handcraft and technology—especially the possibilities that AI might bring for a renewed appreciation of manual work.
“In an era when AI-made things are too perfect, people will no longer feel any soul in them and will come to seek ‘traces of the human hand.’ History shows that there were times when artisans had great status. AI might actually bring a new ‘power’ back to craft.
“AI’s development could be a chance for artisans to reclaim the initiative in creation. Until now, artisans who weren’t comfortable with computers were often relegated to subordinates in digital design. But with AI, an artisan can generate designs themselves with just a prompt. Their own creativity will finally be recognized, and that will have significant cultural and economic meaning.
“If the day comes when AI challenges my work—bring it on! I’m not worried for now, but if AI gets that far, I’d actually be excited to see it.”
Wintrebert’s stance is not to reject technology, but to see AI as a tool for dialogue that can help reclaim creativity.
Continuing his dialogue with the ancient “language” of glass, Wintrebert’s luminous sculptures hint at new possibilities for craft in the age of technology.
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