Eduardo da Silva Prado is a born artist. Raised in a family with a talented and creative mother and a great-grand father, patron of the Modern Art Movement in Brazil, in 1922. As a child, he excelled in drawings and creating unusual objects. As a bookworm, avid reader of newspapers and comic books, to him art and architecture have always been on the radar. He was educated with a strong critical sense, a vigorous observer of the avant-garde in art and politics.
He graduated in architecture; art in three dimensions, was his interest. However, it was in the glass art that he fully developed his artistic vein. He worked with architecture, design of objects and cars, and beginning in the nineteen eighties, he struck art in Glass. He visited, in London, the first Studio Glass Exhibition in the world, organized by the Corning Museum of Glass. There also, the works in glass by the Royal College of Art students fascinated him. Enthusiastic about art in glass, in 1986, he became curator of the first glass art exhibition in Brazil, held at the São Paulo Museum of Art, the largest art museum in Latin America. The great success of the show led him to be curator of two other shows of studio glass, one with Japanese artists, and one with Swedish artists. The role as curator led him to visit glass studios around the world and to observe several ways of making works of art in glass, such as blowing, casting, and fusing.In 1990, he redirected his career; took three glass art courses in the USA and started making his own pieces with the artist Elizabeth Prado, his wife. With a nation-wide energy shortage in Brazil, he was obliged to close the hot shop in his studio and go to work at rented areas in glass factories. Prado believes that there occurred a liberating moment within him when he saw the film “Yellow Submarine”; he considers this a turning point in his personal world. “Whenever I watch it, I’m fascinated,” says Eduardo. Always observant of the work of painters and illustrators such as Harold Foster, Al Capp, Frank Frazetta, Vargas, Guido Crepax, Robert Crumb, Larson and others, Eduardo develops painting and illustration on glass. Without prejudice to the new or the old, he surfs in the works of artists of all ages, from cave paintings to Basquiat, Keith Haring, Banksy. Diehard fan of street art, which he considers to be the quickest way of expression of social change, his works are delicate overlay processes of paint and decal, which are covered in glass as many times as necessary for the desired effect. Mini -moments created in any corner of the world are developed within the ambiance of his studio in Florida, with the help of Rick Eggert of the Benzaiten Art Center. A world that explodes in an intriguing glass dome.