Steffen originally trained as a toolmaker, and worked for some years as such, before realising his curiosity spanned more than that which is measurable. In glass he found these qualities. The uncompromising nature of this material exactly fitted the precise and analytic way of thinking that he was taught in constructing industrial tools.
During his first ten years of glass making, Steffen was practising and experimenting with all the different techniques to become a good craftsman. While doing so, he discovered a new kind of beauty in the fringes of the well-crafted glass he was making. In the area of mistakes and faults – the unwanted air bubbles, ash marks, soot, cracks and crookedness – he found something that could not be predicted or sketched beforehand. He set the established and traditional techniques aside and started making glass all “wrong” in an attempt to capture the good in the bad. Out of these experiments came the “Fossils”, “Plants” and other objects – like frozen extracts of chaos to be watched undisturbed.