“Madonna of the Cherries” Acrylic on linen, 52 x 44.5 cm
“L’homme a l’ecureuil” (Man with a Squirrel) Acrylic on Linen, 76 x 65 cm
“Femme avec Chien” Acrylic on linen, 66 x 57 cm
“Le prisonnier” Acrylic on canvas, 65 x 50 cm
“Chevalier” Acrylic on canvas, 46 x 55 cm
“L’automne” Acrylic on canvas, 38 x 46 cm
“La Gravitation” Acrylic on canvas, 89 x 116 cm
“Party with vegetables” Acrylic on linen, 33.5 x 43.5 cm
“Profile de Madone” Oil on canvas, 35 x 27 cmGeorges Mazilu, born in Romania in 1951, is known for his signature style linking contemporary surrealism with the art of the Northern Renaissance. He has a Master’s Degree in Fine Arts from the Grigorescu Art Institute in Bucharest. and has been resident in France since 1982. Mazilu participates regularly in the major Parisian art salons and exhibits extensively in Europe and The United States.
George Mazilu likes to describe his artistic process in existential terms. Without elaborate preliminaries he begins working directly on a blank drawing pad or canvas, a tabula rasa that allows his imagination free rein, before arriving at his surreal and gnome -like creatures and their mysterious compelling rituals. In this unconscious, improvisational phase Mazilu sets down abstracts of fantastic shapes freely. “It’s like trying to weave a graphic shape to a biological feeling of movement, a dance or something like that,” he says. “Little by little they evolve into a figurative form.” (More)
In the creative amalgam that readily combines abstract and figurative elements, the art of the past has played a significant role. Mazilu has absorbed a variety of artistic influences since he left his country of origin, Romania, and took up residence in Paris: the historical monuments and museum icons of Paris, now his permanent home, images from Carpathian folklore lingering on from childhood memory, and the strong formative influences of Bruegel, Bosch, Velazquez and Goya, among others, whose presence can be inferred from many of the magical figures that make brief, enigmatic appearances on his pictorial stage. (Thomas Masters Gallery)
