This practice-based research repositions blown glass as a perceptual medium, one that operates not simply as an aesthetic object, but as a dynamic site in which sensation, space, and memory coalesce. Rather than treating glass as a surface for visual appreciation, this study explores how glass actively modulates perception, constructs fluctuating spatial experiences, and evokes embodied responses. Through iterative material experimentation, installations shaped by environmental and sensory conditions, audience interaction, and a series of site-responsive exhibitions and residencies, it proposes glass as a medium that shapes, rather than merely receives, sensory experience. At the core of this research lies an enquiry into how perception is actively shaped through material interaction. How does blown glass mediate sensory conditions that dissolve the boundaries between seeing and touching, transparency and opacity, depth and surface? In what ways do colour, spatial layering, and fluctuating visibility evoke embodied sensations and remembered associations in viewers? How is audience perception influenced by the environmental, spatial, and cultural contexts in which glass is experienced? Rather than simply analysing visual forms, this study explores these questions by engaging directly with glass as a perceptual medium, investigating how sensory experience emerges through situated interaction between audience, object, and environment. To articulate these encounters, the research develops four interwoven conceptual frameworks: synaesthetic touch, layerspace, colour, and site. These are treated not as fixed categories, but as contingent conditions that shape and complicate the act of perceiving. Synaesthetic touch draws on Merleau-Ponty’s phenomenology to explore how visual experience in glass can become tactile, even affective. Layerspace, informed by Deleuze’s theory of affect and movement, reflects the shifting spatiality produced by optical layering and depth modulation. Colour is framed as a sensory agent, unstable, immersive, and memory laden, whose perception is shaped by environmental light, transparency, and spatial context. Site extends beyond physical location, encompassing cultural, architectural, and atmospheric conditions that alter the reception of glass artworks. Together, these frameworks offer a model for understanding perception as situated, participatory, and continuously unfolding. By activating techniques such as layering, sandblasting, transparency modulation, and chromatic distortion, the practice constructs glass-based environments that invite perceptual navigation. These works resist fixed interpretation: instead, they generate shifting perceptual fields in which the viewer becomes implicated as a sensing subject. Ultimately, this research reframes glass not as a static material, but as a perceptual event, an embodied, spatial, and affective situation. It contributes new methodologies for thinking through material agency, colour perception, and sensory aesthetics in contemporary art, offering a model of research in which perception is not simply observed, but produced. In doing so, it positions glass as both medium and method: not something to be seen, but something through which we sense, dwell, and attend.