The Collage Work of  MICHEL  BEZMAN

Excerpts from Art Reviews

Patricia C. Johnson .  Houston Chronicle, Aug. 21, 1982
" . . . Michel Bezman's collages are technically so impeccable they look like photographs of something real. That is until you see...
"And Ulysses had a Long Voyage", the lovely ladies that await the hero's return are a transformed Renaissance angel and Leonardo's Mona Lisa in a Greek toga . . ."
" . . . His visions are hallucinogenic, not unlike those of De Chirico, Salvator Dali and Max Ernst . . . There is within these collages
a logic that is all their own . . . Bezman's power is that of observation and synthesis. . ."

Karen Kane . Texas Magazine, Houston Chronicle, Aug. 15, 1982
" . . . What's so amazing about his works is  how wonderfully put-together they are, " says friend and Houston painter, Herb Mears," I
liked them immediately and thought they should be shown. The clarity makes them look like photographs, original works. And because the perspective and light are so accurate, he makes you believe these are real places. . ."

Graeme  Bryan .  UH Horizons, May 1982
" . . . Collages have become an accepted and common artistic form. But they have largely remained two-dimensional, their images dis-
cordant and static. Bezman's work in contrast are serene, balancing light, form, color and texture. He seeks to create a parallel world
of mystery and surprise. . . . . " I really admire his work. It warrants the show" says Sally Knudson, Director of the DuBose Galleries.
" I think his collages are fresh and unique. I want other people to see and enjoy them as I have . . ."

Barbara Mallen .  Art Scene, Fall 1986
" . . . This is where Bezman's peculiar genius comes into play. A twilight skyline of New York City turned on its side becomes the
craggy interior of a cave. A picture of a microchip, its guided circuitry oddly suggestive of hieroglyphics becomes the wall of a pharaoh's tomb . . . . .  This is where Bezman's background as an Architect is visible. His selection of things often results in strange architectural formation   , and his sense of three dimensions is so keen that he is able to slip all these unrelated things in together in a way that really makes sense    .  They're wild dream-like sequences, but they're not pressed beyond the realm of possibilities.  . . Bezman's collages are suffused with an invisible source of light, creating dramatic areas of high relief and shadow . . . "