Silkscreen on clayboards with recycled tire rubber flocking
Printed by: Noah Breuer of 2 by 2 Press, Brooklyn, NY

Full-scale dimensions variable, 24"w x 18"h each panel

Part of the New Mythologists: The Three Horsemen of the Apocalypse series.
Seen here installed at the Visual Art Exchange in Raleigh, NC.

Read the statement here.

New Mythologists: The Three Horsemen of the Apocalypse is an innovative, site-specific installation that moves beyond memory, beyond recollection, to strive for new possibilities. What happens to this end-of-the-world myth when it fails to deliver what it has promised? Can we rearrange and repurpose it to suit the needs of the new millennium?

This work creates a world of new myth through which the viewer is better able to analyze and understand the predominant influence The Corporation has over our visible and invisible day-to-day realities. What was once controlled by organized religion has been usurped by The Corporation. No longer is the end game salvation. Now it is consumption and personal profit. The New Mythologists series will not only focus on heightening awareness of The Corporation’s control but will also offer brief glimpses of hope for a world not dominated by The Corporation; mythology usurped by the people.

WAR is represented by: Defeated/Amputees (WAR); comprised of over 200 silkscreened, black and white prints on clayboard. It uses an experimental silkscreening process: flocked prints using recycled tire rubber shavings. This Baroque-inspired, wallpaper pattern confronts the viewer with the obvious correlation between war and pattern.

Though responsible for similar physical deformities as militaristic war, the type of war that is represented in Defeated/Amputees (WAR) is war waged by The Corporation upon the working class. This inference is dependent upon an understanding of the process behind the creation of the imagery. An understanding of the process is important for a more powerful appreciation of the work, though it can be appreciated solely for its aesthetic value. This process will be revealed during the FAMINE performance.

Read some reviews here.

Excerpt from “Review: AND I FEEL FINE at ATHICA, Ushers in Renewed Energy” by Rusty Wallace
(BURNAWAY is a non-profit online magazine and destination for engaged dialogue about the arts.)

“A curious site-specific wall installation by David Mazure entitled Defeated/Amputees (War) (2011-present), occupies a large wall expanse. Calling into question the warfare of corporations against the working class, the starkly contrasting pattern, which initially reads as wallpaper, is in fact powdered tire rubber silk-screened on clayboards. During the opening reception, the artist performed a slide-based artist talk; Mazure gave away certain tiles from the installation to audience members that revealed an image silk-screened in white on the wall of Death, from The Four Horsemen of the Apocalypse.”

Excerpt from “Water Music at the GMOA and And I Feel Fine at ATHICA” by Jessica Smith
(FLAGPOLE is the independent voice of Athens, Northeast Georgia’s vibrantly laid-back, architecturally interesting home of the renowned music scene and the University of Georgia.)

“David Mazure’s “Defeated/Amputees (War),” part of his “New Mythologists: The Four Horsemen of the Apocalypse” series, is an installation of black-and-white, silk-screened tiles flocked with tire rubber that span the wall like wallpaper. The digitally manipulated, Baroque-like pattern was disturbingly abstracted from figure drawings of amputated limbs, lost due to corporate negligence, symbolizing the cruelty often hidden behind corporately driven production. Several tiles were randomly handed out at no charge during the exhibit’s opening reception, making an anti-materialist statement that reinforces the concept of capitalism existing as a culturally learned mythology that can be battled through the power of individual choice.”

Excerpt from “Art Feeling Out the Future” by Andre Gallant
(ATHENS BANNER-HERALD is Athens, GA’s only daily newspaper.)

“Mazure’s “Defeated/Amputees (WAR)” is technically mind-blowing. From afar, his giant ink blot tests give way to intimately detailed shapes that comprise a wild, insect-like pattern.”