She graduated from the Academy of Fine Arts and from art history at the Jagiellonian University in Kraków. Deported to Russia during the war, she found herself in Lebanon after the declaration of amnesty. She took up studies at the Beirut Academy of Fine Arts (L'Academie Libanaise des Beaux-Arts), where she met her future husband, Zygmunt Sigilla-Mazur. In 1949, she and her husband emigrated to Canada. From 1952 to 1956, she taught art history at schools in Montreal and Ottawa.

Her first exhibition was the Exhibition of Polish Artists in Exile Residing in Canada, a group presentation of works by Polish artists at the Montreal Museum of Fine Arts, in November 1950. Stravinska-Mazur showed two oils (exhibition flyer). In 1951, the Exhibition of Slavic Art, held at the Slavic Centre at Montreal University, featured the artist's works. In 1954, at the Redpath Museum at McGill University in a prepared exhibition of Polish artists, the Polish Art Exhibition, the artist presented four oils and five ceramic works. Also in 1954, on the occasion of the 3rd of May, the artist took part in a group exhibition prepared in the window of an Eaton shop.

From 1955 Maria Strawińska-Mazur was a member of the Polish Decorative Arts Club (otherwise known as the Polish Artistic Crafts Club). It was established by the Association of Technicians, in order to interest the Canadian public in the Polish decorative arts. In 1959, the Polish Decorative Club, together with the Polish Students Club, organised an exhibition of Polish painting and handicrafts at McGill University, in which the artist participated. This is the last recorded exhibition of Maria Strawinska-Mazur, who disappeared from Montreal's artistic life in the 1960s and 1970s.

The work in the catalogue
Maria Stravinska-Mazur, 'Oriental Woman', embossed aluminium, James Halperin online gallery - www.jhalpe.com
The work was probably among the works by Zygmunt Sigililla-Mazur put up for art auction after his death. The work depicts a woman holding a basket of fruit on her head, with a donkey behind her and two trees visible in the background. The curved female figure introduces movement into the composition. Elongated bands of gold and green form the background of this orientalising composition, the deformation of the figure alluding to Expressionism.