Description:

MIRKA MORA (1928-2018)
Metamorphosis 1998
oil on canvas
signed lower left: MiRKA 98
titled and dated verso
91 x 152cm

PROVENANCE:
William Mora Galleries, Melbourne
The Estate of William Mora, Melbourne

OTHER NOTES:
Born in France and seeking refuge in Melbourne in 1951 amidst the upheaval of postwar Europe, Mirka Mora (née Zelik, 1928–2018) rapidly became an iconic figure in Australia's cultural landscape. Her work continues to be revered and celebrated to this day.

Mirka Mora's contributions to the artistic and cultural fabric of Melbourne are immeasurable. Her distinct visual language—evident in everything from vibrant
murals and intricate drawings to her evocative soft sculptures and dolls—was inseparable from her active role in the city's burgeoning bohemian and café scenes.
Alongside her entrepreneurial husband, Georges Mora, Mirka played an undeniable role in shaping the modern creative landscape of Melbourne.

Through her creations, Mirka celebrates the beauty of the unreal, crafting a world where joy and myth coexist in harmony. In Mirka's realm, all elements have the same
value. One might also say, she was an animist, believing that all natural things, including plants, animals, elements of the universe, and even the weather, have a spirit or soul and therefore are connected. Her art was not about hierarchy but about connection—a levelling of forms, meanings, and beings on a shared plane of significance.

The painting, Metamorphosis, is a testimony to the multifaceted aspects of Mirka's imagery, revealing the extent of her creative expression. Even though she would not be one to analyse her work saying that "it would kill the mystery", we note the serpents that are somewhat human, symbolising trajectory and "the harmony of all senses".

One cannot help but notice the array of faces, the use of dots and different motifs. Through her son's Williams connections with indigenous communities and artists,
Mirka came into contact with artists from the Kimberley region and the Northern Territory. This encounter left a clear mark on her work. She began incorporating Mimih spirits and Wandjina-like figures into her compositions, across a variety of media.

The work is ultimately about transformation. In this painting, Metamorphosis, Mirka shows once again her "ouverture d'esprit" (open mind) and her intent to place all the different elements on the same plane. We can see how one aspect morphs into another with the serpents that are half human or the dots that equally remind us of
impressionism and dot painting in traditional Aboriginal cultures. This work is about transformation and change leading to Metamorphosis, exhibited only once ever at
William Mora Galleries in the newly opened gallery in Richmond in 2001.

By 1998, Mirka was well established as an artist, already a much-loved figure and still living in St Kilda. She continued to practise as an artist for 20 more years focusing on her preferred media, painting, before passing away in 2018. To mark her significant contribution to Australia, she was celebrated by a State Memorial Service, being the first female artist in Victoria to receive such an honour. Her artistic vision has left an enduring legacy that continues to resonate across generations. As Carillo Gantner AO observed:

"You could not help but fall in love with Mirka. Everyone who stands before her work feels the sense of joy and of life lived to the max."

Today, William Mora Galleries represents her estate for the primary market buyers, where visitors still arrive to share memories and stories—testament to an artist whose spirit continues to inspire across generations.

Anna Mortley
Director William Mora Galleries

Bibliography:
Beier, Ulli. MIRKA.. Macmillan, 1980.
Cotte, Sabine. Mirka Mora: A Life Making Art. Thames & Hudson, 2019.

© The Estate of Mirka Mora. Courtesy William Mora Galleries

  • Provenance: William Mora Galleries, Melbourne
    The Estate of William Mora, Melbourne
  • Dimensions: 91 x 152cm
  • Medium: oil on canvas
  • Notes: Born in France and seeking refuge in Melbourne in 1951 amidst the upheaval of postwar Europe, Mirka Mora (née Zelik, 1928–2018) rapidly became an iconic figure in Australia's cultural landscape. Her work continues to be revered and celebrated to this day.

    Mirka Mora's contributions to the artistic and cultural fabric of Melbourne are immeasurable. Her distinct visual language—evident in everything from vibrant
    murals and intricate drawings to her evocative soft sculptures and dolls—was inseparable from her active role in the city's burgeoning bohemian and café scenes.
    Alongside her entrepreneurial husband, Georges Mora, Mirka played an undeniable role in shaping the modern creative landscape of Melbourne.

    Through her creations, Mirka celebrates the beauty of the unreal, crafting a world where joy and myth coexist in harmony. In Mirka's realm, all elements have the same
    value. One might also say, she was an animist, believing that all natural things, including plants, animals, elements of the universe, and even the weather, have a spirit or soul and therefore are connected. Her art was not about hierarchy but about connection—a levelling of forms, meanings, and beings on a shared plane of significance.

    The painting, Metamorphosis, is a testimony to the multifaceted aspects of Mirka's imagery, revealing the extent of her creative expression. Even though she would not be one to analyse her work saying that "it would kill the mystery", we note the serpents that are somewhat human, symbolising trajectory and "the harmony of all senses".

    One cannot help but notice the array of faces, the use of dots and different motifs. Through her son's Williams connections with indigenous communities and artists,
    Mirka came into contact with artists from the Kimberley region and the Northern Territory. This encounter left a clear mark on her work. She began incorporating Mimih spirits and Wandjina-like figures into her compositions, across a variety of media.

    The work is ultimately about transformation. In this painting, Metamorphosis, Mirka shows once again her "ouverture d'esprit" (open mind) and her intent to place all the different elements on the same plane. We can see how one aspect morphs into another with the serpents that are half human or the dots that equally remind us of
    impressionism and dot painting in traditional Aboriginal cultures. This work is about transformation and change leading to Metamorphosis, exhibited only once ever at
    William Mora Galleries in the newly opened gallery in Richmond in 2001.

    By 1998, Mirka was well established as an artist, already a much-loved figure and still living in St Kilda. She continued to practise as an artist for 20 more years focusing on her preferred media, painting, before passing away in 2018. To mark her significant contribution to Australia, she was celebrated by a State Memorial Service, being the first female artist in Victoria to receive such an honour. Her artistic vision has left an enduring legacy that continues to resonate across generations. As Carillo Gantner AO observed:

    "You could not help but fall in love with Mirka. Everyone who stands before her work feels the sense of joy and of life lived to the max."

    Today, William Mora Galleries represents her estate for the primary market buyers, where visitors still arrive to share memories and stories—testament to an artist whose spirit continues to inspire across generations.

    Anna Mortley
    Director William Mora Galleries

    Bibliography:
    Beier, Ulli. MIRKA.. Macmillan, 1980.
    Cotte, Sabine. Mirka Mora: A Life Making Art. Thames & Hudson, 2019.

    © The Estate of Mirka Mora. Courtesy William Mora Galleries

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