Trained at the Escuela Libre de Argentina, the School of Fine Arts of San Fernando, studying painting and Crculo JosMndez Ruiz de Bellas Artes, Eduardo Osimani bean is brought into the world of glass 1960 thanks to some practices as an intern at Glazing Rigollau laboratories in Argentina. It was then quedimpactado by multiple artistic possibilities of this material, especially in the field of glass design. Back in Spain, has a first contact with this world in the glass madrileafbrica Vidrilux Cooperative, for eight years. After touring several countries in Europe to expand their experiences, installed in 1982 in the Catalan Pyrenees, where the environment and climate encontrarel appropriate to devote more than ever to his creative activity. After holding several exhibitions in Argentina, USA, Spain and France, comes, around 1988, in Toulouse (France) with the mission of collecting ancient designs ceramic of different museums, to study the enamel glazes on this material and open in the design of contemporary ceramics other going in creation. In 1990 he was called by the CNV Foundation to develop the first College Glass Workshop, a pioneering experience in Spain. As director of formative and artistic area of the School of Glass, Eduardo has continued to organize and develop a good number of training programs for the creation of other similar glass Schools in Spain, as as a good number of monographic courses of international renown, where all the years brings together the most outstanding specialists of contemporary glass. This complex activity in the school not meant to Eduardo bar to continue their creative work, is more, we add sirvide escape or to offset their full dedication to teaching. However, since then, has not had enough time to make known their interesting work. It is, therefore, the time and right place to show the extensive work that includes both painting and sculpture. His pictorial work is full of sensitivity may be defined, purity and chromatic care that can be placed inside a full abstraction of poetic resonance. The glass sculpture is, however, colorless, clean, pure lines, where the very transparency of the material suggests the most intimate sense of his personality. When working with glass is not interested in color but light, transparency and purity that underlie this material, which sometimes combines purity with cobalt blue touches that give it considerable dynamism. Volume, shape and transparency are therefore three key elements in his sculptural work, where geometric shapes like the sphere or disk harmonized wisely serve as a tool to express their most intimate messages of peace and freedom. Inspirndose in watercolor spots one of his recent accomplishments is what the artist calls another way to paint the glass, where the pictorial qualities of the environment are achieved through various forays into the hot glass in the form of small I discs.