This retrospective of multi-dimensional prints presents a rich expression of natural imagery in a variety of mediums that are seamlessly integrated. For example, Pond Edge IV from 

Michael Mazur, Pond Edge II, 1997, monotype, 31 5/8 X 41 1/2 in

Michael Mazur, Trees, Mashpee (diptych), 1982, monotype, 35 1/2 X 48 in

Michael Mazur, Pond Edge IV, 2005, etching, aquatint, silkscreen and woodcut, 32 X 42 1/4 in

2005 utilizes nearly every printmaking technique.  The combination of approach serves to create an opulent tapestry that is harmonious, mysterious and moody.  Now contrast this with an earlier piece from 1997, Pond Edge II.  In this case the medium is a monotype but both pieces are tightly united by a strong sense of style and the difference of 8 years is irrelevant based on the imagery.  In this Mazur remains faithful to style, subject matter and approach in presenting a particular view of nature imbued with a quiet intensity.

The images vary between abstract and figurative imagery but the differences hardly matter.  Mazur captures a very real sense of the abstraction that is part of all natural forms.  Water in a pond or a collection of trees and plants are all recognizable enough.  But more importantly it is the essence of these forms that is expressed. It is this subjective reality as presented in the images that feels more real then the actual thing.  Certainly the color, as blended earth tones and subtle contrasts, contribute to the atmospheric effect. In the end Mazur presents a very well articulated somewhat gothic view of nature that is deeply felt and even sublimely frightening at times.