Michael Mazur (1935 – 2009)

Michael Mazur, Self Portrait, artline
Michael Mazur
Self Portrait, state II, 1986
etching on copper, printed á la pope, ed.8, 44 x 30"

There is a sense in which the content of all art is self-portraiture. An artist's gaze into the mirror could yield the same opacity as any portrait, were it not for the special interest of others in us.

This portrait, as many others, was not made while studying a mirror image. Power drill tools were used to 'draw' the image directly on metal. It began as a 'reaching' for a feeling or likeness that I could recognize as my own head. Prints were pulled at intervals as unique states. Ultimately a small edition was taken. Later a much different second state was etched using aquatints.
Michael Mazur, Self Portrait, artline
Michael Mazur

about the artist

Mazur’s restless artistic temperament led him to explore a variety of styles and media, shuttling between realism and abstraction. He produced narrative paintings like “Incident at Walden Pond,” a triptych from the late 1970s depicting the aftermath of a rape, and, beginning in the 1990s, abstract landscapes based on his own vascular system and on Chinese landscapes of the 12th to 15th centuries. William Grimes
Here is an example of one of his images

Michael Mazur, Vine Tree Breaks, artline
Michael Mazur
Vine Tree Breaks, 1984
charcoal and conte crayon on paper, 44 x 30"

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