Rebecca Nemser

I loved THE CONCERT, the beau­ti­ful lit­tle paint­ing by VERMEER. Each time I looked at it, I saw some­thing new. Now it’s gone. I try to remem­ber every line, every shad­ow, every gleam of light, every sweet cadence of its silent music, but I can already feel it fad­ing. As time goes by, it will dark­en and grow dim. 

In MICHAEL MAZUR’s hands, the Mono­type was the per­fect form to con­vey the mul­ti­plic­i­ty of life in the nat­ur­al world. The clear­est, most lucid flow­ers are sur­round­ed by a paler aura of oth­er flow­ers, oth­er sum­mers, oth­er inter­pre­ta­tions — a riot of reeds and flow­ers, organ­ic growth, con­fu­sion, and decay. Revenants of images repeat like ghost­ly, half-remem­bered things.