Didier Mazuru was born in Paris in 1953. After receiving a degree in Architecture in 1981, he moved to Stockholm to devote himself entirely to painting. Didier’s early works are mostly post-surrealistic, becoming more abstract with time. Not only did his work develop in another direction, but his work process also evolved from being very structured to more spontaneous, leading him into the totally improvised methodology evident in his work today. He has had numerous solo exhibitions in Paris, St Etienne, Lyon, Stockholm and Germany since 1984. He has even participated in a show honoring the French visionary artists ‘Les visionaires’ at the Grafiskkunst der Gegenwart aus Frankreich, Panorama Museum, Germany in 2012. His most recent show was earlier in 2016 with the exibition ‘Travel into the Imaginary’ at Galerie Les Yeux Fertiles in Paris. Didier currently lives and works in both Stockholm and Paris.
“Already in the 80s, I began sketching lines based on the fluid movements of the hand. Allowing the eye to pick out forms and volumes from the jumble of lines. I later left these drawings behind to devote myself to another series of drawings consisting of composite human-like characters that I gathered under the name “In the House of Dreams”.
My images beg to be experienced, not analyzed. Art is particularly sensitive. To paint, in my opinion, is to go in search of the sensation, not the idea, that bares the emotion. Ideas do not need painting in order to exist and develop. However, my paintings do provide access to feelings and emotions that would otherwise remain inaccessible. Painting works in much the same way as music, dance or sculpture. It aims to release a pure energy that can arouse our senses and our sensitivity, setting in motion our own perceptions and imaginations.
Within these areas the ideas are, in general, troublemakers that affect the way we observe, preventing us from perceiving things as they are and of deepening our view of them. It is therefore not ours to think, to understand, or even less to judge but to feel. To do this, we must take our time. “
Post-surrealist period. Personalized use of pictorial principles developed by artists such as Tanguy, Dali and Max Ernst. These works are mostly in oil.
The period known as “In the House of Dreams | “I Drömmarnas Benhus”, a sort of cemetery of forms arising from the imagination of the painter. Mineralization of bodies and landscapes, with a section devoted to the art of dance entitled “The Sighs of the Soul | Själens suckar”.
The period known as FRA (fragments) is a more abstract period, still working with very constructed images. Images are made of scattered volumes floating or dancing in space.
Organic period. In this period, forms develop in an improvised and random manner from the chaos of matter. From this initial chaos an order organically develops and grows into a deep and coherent composition of pictorial substance. Several methods of organisation are explored in parallel.