Hammered on glass 

a new series of works 

In autumn 2024, I came across works by Swiss glass artist Simon Berger online by chance and was immediately blown away. This special way of using glass not only as a material but also as an image carrier fascinated me from the very first moment. The idea of using targeted hammer blows to create structures, plays of light and depth in an otherwise smooth surface never let go of me.

In the weeks that followed, I began to familiarise myself intensively with this technique:
with the completely new "Painting ground" Glass, the procurement, the possibilities of setting up and hanging, the backing of colours and the conscious development of contrasts. At the same time, I quickly realised that this process brings its own challenges. Hammering on glass generates a lot of noise - you can't do it without hearing protection. Every blow harbours the risk of fine or large glass splinters, which is why safety goggles and gloves are essential. The work also produces fine glass dust that floats in the air; a mask protects against inhaling it and, last but not least, leather gloves must also protect the hands from the sharp glass splinters.

But it's not just the creation process that has its pitfalls - photographic reproduction also requires a sure instinct. Glass reflects every light source, every movement in the room, every shadow. The right position, controlled light and the right background are crucial in order to make the delicate structures and fractures visible. I have an experienced partner at my side for the precise design of these backgrounds with the stripes that are characteristic of my work: Peter Mungenast from Mags Gerstgrasser realises my ideas perfectly.

Despite - or perhaps because of - these challenges, I created my first glass works: each piece is a play of light, fragmentation and form. I eventually published a few of them on Facebook, where they provoked exciting reactions.

With "Hammered on Glass" I am now opening a new series of works that is far removed from traditional painting and yet deeply connected to my previous work: experimental, direct, powerful - and always with respect for the fascinating but fragile material.

I invite you to discover this new world between fragility and expressiveness in the following gallery. Some of the works on display are still available for purchase - if you are interested, please contact me. I am happy to take also Orders against and realise individual wishes in my personal handwriting.

 

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The Thialstock in the light of glass art

I created this work in 2026. It has the format 77×33 cm and radically breaks with traditional painting techniques. Instead of applying colour, I use the targeted chipping and breaking of glass to create fascinating light structures. Every single bright dot on the deep black background is the result of a hammer blow on the glass surface. It takes practice, experience and a blind feeling for the fragile material to control the contrast between light and shadow so sensitively. This is the only way to perfectly recreate the three-dimensional topography of the mountain and create a dynamic work that changes vividly depending on the incidence of light and the viewer's perspective.

The motif of the work is a true character mountain of the Tyrolean Alps: the Thialstockoften affectionately called "the Thial" by the locals. With a height of 2,385 metres above sea level it forms the north-eastern end of the Samnaun group. As the proud local mountain of the district town of Landeck and the neighbouring communities of Zams and Fliess, its mighty, rugged north-eastern flank towers over the Inn Valley at this striking narrow point. It is precisely this imposing perspective - as seen from Zams - that I have captured in a glass relief, thus creating a monument to this important regional landmark.

In reality, the Thialstock is an extremely popular excursion destination, offering hikers both leisurely routes and challenging alpine tours. The classic ascent starts from Perfuchsberg and leads up to the picturesque Thialalm at an altitude of 1,834 metres, which is open in summer. From here, the path turns into an alpine trail that finally offers a spectacular 360-degree view from the summit. From up there, the eye wanders over the Landeck valley basin, the Inntal valley and the Lechtal Alps all the way to the glaciated giants of the Ötztal Alps.

I captured the majestic flight of the golden eagle on a 50×80 cm pane of glass in 2026

The golden eagle, often referred to as the "King of the Skies", is now once again an integral part of the Tyrolean Alps - a symbol of freedom, strength and unspoilt nature, captured in flight in this unique glass painting. But its throne was jeopardised for a long time. After it was almost completely wiped out in the 19th century through merciless persecution and poison, consistent conservation measures have led to an impressive return. Today, around 1,200 pairs are breeding again throughout the Alps; in Austria, the population is around 260 to 360 pairs, a significant proportion of which live in the rugged rock faces of Tyrol.

Their nests are usually found on steep rock faces between 1,500 and 2,500 metres, often strategically positioned at the tree line. From there, a pair controls a territory of up to 100 square kilometres. It is a life of extremes, which is also evident in the powerful flight pose depicted here: While the eagle benefits from the thermals in summer and hunts marmots, winter is a tough test of survival in which it often has to rely on carrion or weakened wild animals.

Despite its imposing appearance, reproduction is a slow and sensitive process. A pair of eagles usually remain faithful to each other for the rest of their lives, but often only raise a single young bird per year. Of the usually two eggs laid, only the first-born usually survives due to so-called cainism - where the stronger chick displaces the weaker one. It takes five to six dangerous years before a young eagle is sexually mature and able to occupy its own territory.

Today, the golden eagle is no longer directly threatened with extinction, but modern dangers such as disturbance from leisure activities near the nest or insidious lead poisoning demand constant vigilance. This work of art reminds us of the beauty and fragility of this extraordinary bird.

 

In 2026, I hammered this Haflinger portrait onto a 50×80 cm pane of glass. The special thing about this exclusive glass art is that the work is created completely without the use of brushes or paint. Instead, I use the targeted and controlled flaking of the glass surface. Each individual point of light that stands out against the deep black background is the result of a precise Hammer blows.

The Haflinger is much more than just a pretty leisure horse; it is a living cultural asset of the Alpine regions and looks back on a fascinating history as the "golden horse with the white coat". Its name is derived directly from the South Tyrolean mountain village of Hafling near Meran, where the breed has its roots. Targeted breeding officially began in 1874 with the birth of the stallion "249 Folie". This progenitor, who was the result of a cross between a refined Tyrolean country mare and a half-blood stallion with Arabian ancestors, founded the line to which every purebred Haflinger worldwide can be traced back today.

Originally, the Haflinger was not a sporting partner, but an indispensable hard labourer for mountain farmers. In the extreme mountains of Tyrol, he was used as a so-called packhorse to transport heavy loads such as hay, wood or food along narrow, steep paths that were completely inaccessible to carts. These harsh living conditions and the meagre fodder in the high Alps characterised the character and physique of the breed for generations. The result is a horse that not only impresses with its sure-footedness and enormous strength, but above all with its legendary frugality and strong nerves.

Today, the Haflinger's field of use has changed considerably, but its versatility has remained. After almost losing its purpose due to the motorisation of agriculture, it has developed into one of the most popular all-rounders for riding and driving. Whether in dressage, western riding, therapeutic use or in front of a carriage - his gentle nature makes him the ideal family horse. Despite this modern career, he remains true to his origins: in 2026, he will still be used in the Austrian Armed Forces in the pack animal squadron to transport equipment over terrain where any machine would fail.

The breed is still deeply rooted in its homeland. There are around 15,000 registered animals in Austria alone, and the breeding tradition is also intensively cultivated in South Tyrol with several thousand horses. The breed has gained a foothold in over 70 countries worldwide. However, the Haflinger requires a certain amount of sensitivity when it comes to husbandry, as it is genetically programmed for deficiency. It is considered to be extremely easy to feed, which means that it utilises food particularly efficiently. Their main diet should therefore consist of meagre hay and straw; overly rich, sugary pastures in the lowlands can quickly lead to obesity. It is still healthiest where it comes from: on the sparse herb meadows of the high pastures, which have preserved its robustness to this day.

 

"... who for us ...": A portrait of suffering and hope

I created this work in 2026 and the title, "... who for us ...", is a deliberate shortening of the well-known confession. This incompleteness is intended to invite the viewer to finish the sentence themselves and reflect on the personal significance of Christ's suffering. The portrait of Christ crowned with thorns that I have created on the 25 x 25 cm pane of glass is not only intended to be visually captivating. It is also intended to raise deep theological questions.

This Portrait of a wolf In 2026, I hammered a hammer on a 25 x 25 cm large glass plate. Countless precise strokes create a texture that captures the wild and at the same time vulnerable aura of the wolf - an animal that is once again part of our alpine landscape today, but faces massive resistance there.

The wolf (lat. Canis lupus) is a master of endurance and social organisation. It lives in close-knit family groups, the packs, which in Central Europe usually consist of the parent pair and the offspring of the last two years. Contrary to the old concept of the "alpha animal", the parents lead their pack more like a human family, with both the male and the female taking on leadership roles.

The return to a confined living space The situation in Tyrol is currently particularly dynamic: while over 30 different individuals were recorded last year, these are primarily migrating individuals. Permanent settlement is still rare in Tyrol compared to neighbouring regions. The situation is quite different in Switzerland, where more than 35 packs are now sedentary, and in South Tyrol, where stable structures have been established.

But the return is not without serious conflicts. Today, the wolf is largely unwelcome, especially among hunters and farmers. In Tyrol's small-scale alpine cultural landscape, there is often a lack of the necessary retreat areas, which means that the animal is unable to find its territory. always comes into direct contact with humans and their settlement areas.

Existential conflicts in agriculture A pack of wolves needs a huge territory of about 150 to 350 km2. Wolves travel up to 70 kilometres a day in search of food. Their hunting strategy is based on co-operation, but when this instinct meets unprotected grazing animals, a dramatic picture emerges: In flocks of sheep, the wolf often goes into a hunting frenzy in which it kills significantly more animals than it needs purely for survival or satiation. This behaviour makes peaceful coexistence with traditional alpine farming unimaginable for many of those affected.

Life in the wild is demanding. While wolves can live up to 15 years in captivity, they usually only reach an age of 5 to 10 years in the wild. The continuation of the species is ensured by an annual litter: After mating in late winter, 4 to 6 pups are usually born in spring, which are born blind and deaf and grow up in a cave under strict protection for the first few weeks - symbols of a wilderness that is fighting for its place in our modern world.

The king of the skies captured on glass

The golden eagle, often referred to as the "king of the skies", is now once again an integral part of the Tyrolean Alps, but its throne was endangered for a long time. After it was almost completely wiped out in the 19th century through merciless persecution and poison, consistent conservation measures have led to an impressive return. Today, around 1,200 pairs are breeding again throughout the Alps; in Austria, the population is around 260 to 360 pairs, a significant proportion of which live in the rugged rock faces of Tyrol.

Their nests are usually found on steep rock faces between 1,500 and 2,500 metres, often strategically positioned at the tree line. From there, a pair controls a territory of up to 100 square kilometres. It is a life of extremes: while the eagle benefits from the thermals in summer and hunts marmots, winter is a tough test of survival in which it often has to rely on carrion or weakened wild animals.

Despite its imposing appearance, reproduction is a slow and sensitive process. A pair of eagles usually remain faithful to each other for the rest of their lives, but often only raise a single young bird per year. Of the usually two eggs laid, only the first-born usually survives due to so-called cainism - where the stronger chick displaces the weaker one. It takes five to six dangerous years before a young eagle is sexually mature and able to occupy its own territory.

Although the golden eagle is no longer directly threatened with extinction, modern dangers such as disturbance from leisure activities near the nest or insidious lead poisoning require constant vigilance.

Hammered on glass Depiction of an Alpine ibex with mighty, curved horns against a black background.

This painting was created in 2026 using an unusual technique: I used targeted hammer blows to create fine damage to the glass and gradually moulded the animal with its mighty horns. The seemingly crude treatment contrasts excitingly with the grace and resilience of the animal depicted.

The habitat of the Alpine ibex varies depending on the season: in summer, it prefers high alpine regions above the tree line at altitudes between around 2,000 and 3,500 metres, where it moves on steep, rocky slopes. In winter, it moves to lower, sunny locations with little snow to find food. This consists mainly of grasses, herbs, mosses and lichens, whereby the animals adapt flexibly to the seasonal supply. Around 2,000 to 2,500 ibex live in Tyrol today, which is impressive proof of the successful return of this once almost vanished species.

The alpine ibex thus not only symbolises the beauty of the alpine animal world, but also its vulnerability and the possibility of successful restoration - an idea that is also reflected in the creation of this work.

DDr Schranz Johannes from Imst explained in a Facebook post: The Alpine ibex was almost extinct throughout the Alps between about 1800 and 1850. Only a small remnant population survived in the Italian Gran Paradiso. From there, young animals were brought to Switzerland in 1911 by Swiss gamekeepers - sometimes with the help of poachers. As early as 1906, Europe's first national park was established in the Engadin, which made a significant contribution to conservation. The reintroduction developed into a great success story: today, around 13,000 ibex live in Switzerland and around 3,000 in Austria.

The acrylic painting (60 × 80 cm), which I painted in 2022, shows the Smaragdsee lake in the Radurschltal valley above the Hohenzollernhaus near Pfunds in Tyrol - a turquoise-green mountain lake at around 2200 metres above sea level, which was originally formed by a mudslide. On 30 June 2025, this lake was destroyed by another mudslide. Perhaps in the course of future safety measures it will be possible to recreate a lake that comes close to the original beauty of this natural jewel. The location of the lake at the foot of the 3353 metre high Glockturm, the highest peak of the Glockturm ridge, which separates the Kaunertal from the Inntal and is part of the Ötztal Alps, was particularly impressive. The nearby Hohenzollernhaus, which celebrated its 100th anniversary in 2024, is just a 20-minute walk below the former lake.

The Hohenzollernhaus is easily accessible from the Radurschltal valley. From the car park at the end of the valley near Radurschl, a marked hiking trail leads to the hut at an altitude of 2123 m in around one and a half to two hours. The route is also suitable for experienced families.

If you want to continue hiking from the Hohenzollernhaus, you can set off towards Nauders via the Schafskopfjoch - also known as "Am Schafskopf" - at 2582 metres above sea level. This scenic high-altitude route leads through barren, high-alpine landscapes to the mountain station of the Bergkastelbahn cable car above Nauders. The hike, which takes around six to seven hours, is challenging and requires both surefootedness and a good level of fitness.

Another crossing leads from the Radurschltal valley over the 2786 m high Riefejoch into the Kaunertal valley. This alpine route offers impressive panoramas and connects the Hohenzollernhaus with the Kaunertal Glacier Road - including connections to public transport and further tours. Due to its demands, this route is reserved for experienced mountain hikers.

The Hohenzollernhaus is usually open from mid-June to the end of September, depending on snow conditions. Overnight stays are also possible during this period, which is particularly advantageous for tours lasting several days. Prior booking is strongly recommended.