Dana Zed has been exhibiting her art nationally and internationally for 3 decades. She is in the permanent collections of The CorningMuseum in NY and The Oakland Museum here. She has recently been invited to do a one month artist's residency and exhibition in 201 2involving the public at the deYoung Museum in San Francisco. In 2009 Zed completed a San Francisco Arts Commission Public Art Project for the Portola Branch Library. She also does private architectural glass commissions. Dana owns and operates an Oakland studio with kilns and other equipment. She teaches Ceramics to kids in the East Bay. She teaches adults at Esaeln Institute in Big Sur. In San Francisco’s mission district she maintains a clean studio space for glass installations and digital drawing and painting projects. She almost speaks fluent Spanish.
I often work with glass, which is a particularly magical medium. Being translucent yet solid, as an invisible boundary, it simultaneously is and isn’t. This reflects well my intention to make manifest subtle philosophical concepts. The kiln work in the studio is itself alchemical and the effect intended for the viewer is none the less so. My work serves as a portal to that which we recognize as absolute. This transportation can be as simple as losing oneself in an intricate colorful flower pattern; or as complex as visually entering a mysterious architectural structure where a non-linear stage setting appears to be casting a spell.
My current drawing and painting involves recording what is, especially when I am drawing strangers in public. I am not overlaying my message on the subject but the message or mood emerges of it’s own. I do so many of these drawings that I have started a blog betweenstops.wordpress.com where I accompany the image with fictional text as a comment on our society and our personal lives in it.
Viewing the 9 x9 series reads more like a painting on a wall. Make a statement like “Yield” or another traffic instruction (navigating through life) but in in a primary and basic way. Modern Heiroglyphics made from coloured glass in molds fired and cut and refired until the thickness and stability of the glass feels more like stone than crystal. The surfaces have the warm friendliness of a worn building who has seen time pass. Friendly and wise.