The abstract and contemporary approach to the use of glass and color departs from the traditional Christian symbolism of stained glass, which usually features concrete depictions of saints, biblical scenes, or symbols. However, even in this abstract form, the exploration of potential symbolism and meanings through an innovative approach to symbolism remains relevant.

Contemporary studies of stained glass art allow us to analyze the impact of abstraction on perception and interpretation. Changing styles and techniques can have an impact on aesthetic and spiritual perception, offering new forms to be integrated into contemporary art and architecture.

Of particular importance in abstract stained glass is the viewer's personal immersion in the work. Due to the open-ended nature of abstraction, each viewer can find their own symbols, archetypes or interpretations within it, making each viewing a unique experience.

Arthemii steps grown more than a decade ago, while Arthemii was studying psychology at university with a focus on art therapy. It was here that he conceived the own concept of the "free line" - an intuitive, unrestrained approach to mark-making that would come to define his entire artistic practice and establish a new architectural paradigm. The first drawings that emerged from this method bore a striking resemblance to stained glass, and it was this unexpected likeness that opened the door to an entirely new medium.

His first work in glass, executed in the classical Tiffany technique, marked the beginning of a dedicated series in the 60×60 santimeters format. What started as exploration soon evolved into an ambitious first major artwork: a complete collection of 36 stained glass panels spanning a total dimension of 7.2 × 1.8 metres.

After two years of mastering the Tiffany technique, Arthemii turned his attention to an entirely new frontier: three-dimensional architectural objects. Result is represents in works of this kind are virtually without precedent — such projects scarcely exist in the public domain. Through sustained experimentation, Arthemii developed a original architectural forms and technological approaches, forged entirely through practice rather than established method.

True to his creative philosophy, these architectural works are produced without preliminary sketches or structural design, resulting in forms that are abstract, futuristic, and entirely self-determined. Yet they remain deeply connected to the two dementional (classic stainglass) works from which his practice grew: when light passes through these three-dimensional objects, the shadows they cast onto a surface reproduce, with remarkable precision, the exact same compositions found in his stained glass panels. They are, in essence, the same visual language — the same interplay of line, light, and form — liberated into a third dimension.

Today, Arthemii continues to push the boundaries of his practice, venturing into the architecture of light itself. He is currently developing kinetic prisms and expanding into the field of installation art, exploring how light, movement, and space can be woven into immersive environments. Alongside this, he actively pursues collaborations across disciplines — working with theatre, club culture, and live performance — bringing his visual language into dialogue with other art forms and redefining the contexts in which his work can be experienced