“Amore,” exclaimed Hugh Findletar with passion. The words reverberated through Studio Salvadore, a charming family-owned glassblowing workshop located on the enchanting island of Murano, just off the coast of Venice. Renowned for its rich heritage in the age-old craft of glassmaking, it was here that Findletar and his dedicated team had been diligently fashioning exquisite drinking glasses since the early hours of the morning. As the clock struck 3 p.m. on that delightful Friday in late July, the temperature near the studio’s scorching furnaces reached an intense 120 degrees.
Findletar stood before a furnace, observing as colorful glass rods arranged neatly on a shovel’s head melted into one another. With a flick of his hand, he playfully splashed droplets of water onto the molten glass, destined to become beautiful cups, creating delightful bubbles. Moving with grace to another table adorned with bowls filled with powdered glass, resembling golden sand, he gently pinched the grains in shades of vibrant lemon yellow and luscious Campari red, lightly sprinkling them onto the cups, forming artistic splotches.
“This is what I call ‘dirtying up the glass,'” Findletar explained with a mischievous grin. Among the pieces being crafted that day were special creations for the celebrated interior designer and architect, India Mahdavi, who planned to showcase Findletar’s stunning glassware at her renowned boutique in Paris.
While Findletar is known for his exceptional housewares, including the cups he had been diligently working on, his notoriety reaches its apex with his remarkable bust-shaped vases, affectionately known as “flowerheadz.” The “z” in the name is a loving tribute to his daughter, Zadie, named in honor of the esteemed author, Zadie Smith. Embracing this letter with an air of fondness, Findletar collectively refers to his breathtaking creations as “glassz.” Notably, he has also crafted awe-inspiring sculptures of horses, fish, and shells that have been affectionately labeled “horseheadz,” “fishiez,” and “shellz.”
Typically, Findletar’s flowerheadz vases draw inspiration from individuals. Whether it be the iconic supermodel Naomi Campbell, the doorwoman at his Milan apartment building, or the great biblical king Solomon himself, his pieces intricately capture their essence. Starting at $25,000, these remarkable vases not only serve as stunning statement pieces but also beckon their owners to fill them with floral arrangements. Findletar’s personal favorites include cattail, anthurium, hydrangea, and palmetto, which, when united, form dramatic and captivating hairstyles.
Among the esteemed collectors of Findletar’s masterpieces are renowned names such as Marina Prada, sister of the esteemed Miuccia Prada, and acclaimed designers Domenico Dolce and Stefano Gabbana, who have commissioned their own flowerheadz vases in their striking likenesses. Even King Mohammed VI of Morocco fell in love with Findletar’s artistry, acquiring a prestigious set of eight fishiez sculptures at the prestigious luxury store, L’Éclaireur, in Paris, with each sculpture commanding a price of approximately $7,500.
Glass Artistry Meets Photography
In September, Findletar is excitedly preparing to reveal his latest flowerheadz vases at the esteemed Bergdorf Goodman in the heart of Midtown Manhattan. These captivating creations will be showcased as part of a grand art exhibition hosted by the Spaceless Gallery, beautifully nestled within Bergdorf Goodman’s renowned home décor section. Among the collection are vases inspired by influential figures connected to the vibrant city of New York, including the iconic jazz singer Billie Holiday, the renowned costume designer Patricia Field of “Sex and the City” fame, and the timeless style icon, Jacqueline Kennedy Onassis. Findletar pays homage to Kennedy Onassis by immortalizing her in a delicate shade of bubble-gum pink, reminiscent of the iconic Chanel suit she wore on the day of her first husband’s tragic assassination, President John F. Kennedy.
Findletar’s artistic process for each flowerheadz vase involves collaborating with five talented artisans who share his passion for glassmaking. With some of these artisans having remained by his side for over a decade, he describes the bond as akin to that of a joyous wedding celebration. This remarkable connection to his team amplifies the extraordinary beauty he breathes into each masterpiece.
Journey to Glass Artistry: A Tale of Inspiration
Findletar’s path to becoming a revered glass artist and his serendipitous arrival on Murano, where he now spends most weekends, was anything but conventional. Born in Jamaica, he grew up under the loving care of his maternal grandparents and great-grandparents on their lush banana and coffee farm in St. Ann Parish. It was within this idyllic childhood environment, known as Jamaica’s garden parish, that Findletar’s deep affection for flowers was nurtured and flourished.
In his later years, Findletar would embark on an adventure to New York, where he resided alongside his parents in the vibrant borough of Brooklyn. Finding his footing in the city, Findletar dabbled in various jobs, such as working for a political organization and managing a prestigious home décor shop. He even found himself as a supervisor for housekeeping at an Upper East Side hotel, where he had the cherished opportunity to encounter the legendary Tina Turner. “I immersed myself in her surroundings, breathing in the fragrance of her room,” reminisced Findletar with a reminiscent smile.
In the late 1980s, Findletar discovered his deep passion for the art of photography when he became an assistant to the acclaimed photographer Ken Nahoum. Specializing in capturing the essence of celebrities through his lens, the experience allowed Findletar to immerse himself in the world of portraiture. Following his time with Nahoum, he went on to assist other notable photographers, including the renowned Michel Comte, photographing luminaries like Sophia Loren and many other illustrious subjects. Simultaneously, Findletar began honing his own skills as a photographer, with his captivating portraits gracing the pages of esteemed publications such as The New York Times and others.
“For the longest time, my entire career revolved solely around photography,” revealed Findletar.
It wasn’t until 1999 when Findletar embarked on a photography assignment for the Italian edition of Marie Claire that his journey as a glass artist was truly set into motion. During his month-long stay in Kenya, Findletar visited Anselm’s Kitengela Hot Glass, a mesmerizing glassblowing studio situated on the scenic outskirts of Nairobi. It was at this transformative location that he embarked on his first lessons in the art of glassmaking.
Initially, Findletar began crafting vases that he would later use as vessels for his floral photography projects. His initial foray into glasswork was further inspired by a wooden mask he purchased, created by talented artisans from Kenya’s Kikuyu tribe. This fortuitous encounter sparked an idea within Findletar’s creative mind: “What if I combine a mask and a vase, adorning it with stunning flowers?”
And thus, a brilliant concept came to life, serving as the foundation for his future flowerheadz creations. Yet, glasswork remained a passionate, yet dormant, hobby for Findletar over the subsequent decade as he continued to dedicate his professional career to photography. It was only after being invited to showcase his vases at the renowned International Design Week in Germany’s 2013 edition that Findletar’s commitment to glass reached new heights. Eager to refine his artistry, he ventured to the pinnacle of glassmaking excellence—Murano.
An “Outsider-Outsider” in Venice
During his time on Murano, Findletar had the fortuitous pleasure of meeting Oscar Zanetti, the esteemed head of Zanetti Murano. As a prominent glassblowing studio established by Zanetti’s family in the 1950s, the encounter marked the beginning of a fruitful collaboration between the two artists. Recounting the meeting, Zanetti affectionately referred to Findletar as a unique “character” who captivated him with his visionary ideas. However, Zanetti also recognized Findletar’s unfamiliarity with the intricacies of glassmaking upon his arrival, attributing his subsequent growth to sheer determination and dedication.
It was on the enchanting island of Murano that Findletar encountered another distinguished master glassblower, Lino Tagliapietra, during a chance encounter at a local bar. Tagliapietra, renowned for his collaborations with the famed artist Dale Chihuly, played a pivotal role in expanding Findletar’s understanding of glass as a modern art form. This encounter further propelled Findletar’s artistic development, allowing him to blossom into a true alchemist of the glass medium.
Adrienne Childs, an esteemed art historian and associate at Harvard’s W.E.B. Du Bois Research Institute, noted the rarity of Findletar’s presence as a Black glass artist on Murano and in Venice as a whole. While the industry has welcomed artists from various backgrounds, including prominent figures like Fred Wilson and Moulaye Niang, Black artists remain an outsider presence. Findletar, in a somewhat bittersweet tone, christened himself an “outsider-outsider,” illustrating the rarity of his position in the native glass industry. Drawing on historical context, he further embraced this label by likening himself to a “Moor,” a term once used to describe Muslims and individuals hailing from Northern Africa in Europe, which later became a broad term encapsulating people with dark skin, reminiscent of Shakespeare’s iconic character Othello.
Dr. Childs noted that Venice still produces decorative objects known as blackamoors, depicting Black individuals in a problematic manner, often portrayed as servants or enslaved individuals adorned in livery clothes, symbolizing their owners’ opulence and status.
A Remarkable Accolade from Lagos to the World
Reni Folawiyo, the esteemed owner of Al
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