MIMI'S STATEMENT

As a creative artist I believe in the supremacy of Lyrical Abstraction as the most noble and aesthetically advanced art-style of the twentieth century.
 

I also profess to be a religious artist in as much as I believe to be a mere tool of the Creator when I achieve greatness in my paintings.


As a practising artist I feel akin to a scientist in his observation and experimentation. My studio is my laboratory in which the inherent formative and corrosive powers of fluid paint and media are liberated, moved, fused, redirected, recalled or brought to a stop on the finely textured, finite, almost two-dimensional canvas or paper, subject to my manipulations, guided by the intuitive, emotional, imaginary, image-seeking reaction and interaction with my subconscious as well as my conscious thoughts and judgments, both instant and considered.
 

I consider Lyrical Abstraction to be a direct descendant from Surrealism rather than from Tachism, Abstract Expressionism and Action Painting; patience is one of its virtues, and quiet acceptance. Tachism, though, that encourages art to grow from a small seed, is a first cousin to Lyrical Abstraction.


In my paintings I do not wish to copy something that exists, but rather I try to be the handmaiden in a process of conception, growth and developing maturity in a work of art that may well have parallel traits to growth in nature be it in cloud and earth formations, crystallization, flora or fauna, organic anatomy or legendary transmutation - but it will be a new work.


Lyrical Abstraction is second to no other artform in allowing the artist to observe the visual appearance of growth, and in enticing him to participate in the growth process, as an equal, nay, a master.
Knowledge of the craft, craftmanship, must be available to one who seeks to surpass it; who wants to create a work of lasting impact and appeal, a work that will survive better even being not only well-done but unique.

 

In a lyrical abstract, be it on canvas or on paper, the finished paintwork must enhance, activate and embellish an image that will only endure by its haunting beauty as well as its ever-intriguing puzzlement and mystery.

 

PRIVATE COLLECTIONS

- Johnson & Johnson, New Jersey

- ANZ Bank Head Offices, Sydney and Melbourne

- S. H. Ervin Gallery, Sydney

- Everson Museum Syracuse, New York

- The Hebrew University, Jerusalem

- Many private important and private collections in Australia,
  USA, Canada, Great Britain, New Zealand, and former Yugoslavia

 
5.jpg

Museum of Contemporary Art, Skopje

Her Silver Light hangs
next to Picassos

PUBLIC COLLECTIONS

- Ministry for the Arts, Sydney
- Art Gallery of N.S.W
- National Gallery of Australia, Canberra
- Queensland Art Gallery, Brisbane
- Gallery of Modern Art, Brisbane
- Museum and Art Gallery, Hobart
- Northern Territory Art Gallery, Darwin
- Power Gallery of Contemporary Art, Sydney
- Australian Trade Commission, London
- National Gallery of Modern Art, Belgrade
- Museum of Modern Art, Skopje
- Academy of Science, Belgrade
- The Phillips Collection, Washington D.C.
- Qantas Head Office, New York
- Regional Galleries of Armidale, Penrith, Wollongong,
  Muswellbrook, Cooma, Maitland, Lismore, Taree
- University Collections of Sydney and Adelaide
- Municipalities of Ryde, Rockdale, Sutherland, Marrickville

WORK REPRODUCED

in Modern Australian Painting 1970-1975 and 1975-1980;

Art and Australia;

Other Voices;

Australian US Watercolours Society catalogue 1975;

Art News; Art Speak, New York 1980–1984

; Woman and Art, New York, 1980;

Antiques and Art Australasia;

Manila Times; Pictorial Australian Education 1971 (Turtle, 54 x 77, 1500 copies in Victoria and NSW schools);

Australasian Art News, Aspect – Autumn 1984;

Art Almanac Art and Antiques 1985.

 

LISTED IN

Who‘s Who in the World, 4th/5th/6th editions,

the Worlds Who‘s Who of Women 4th edition,

International Who‘s Who in Art and Antiques,

International Register of Profiles, 4th/5th editions,

Artists and Art Galleries of Australia and New Zealand;

A Book about Australian Women;

Men and Women of Distinction, 1st/2nd editions, London, 1982; Watercolour Artists of Australia 1983;

Debrett‘s of Australia and New Zealand, 1984, Allan McCulloch‘ Encyclopaedia of Australian Art 1984;

Foremost Women of the Twentieth Century U.K. 1988

BIBLIOGRAPHY

 

1982

Began painting Lyrical Abstraction with oil on linen

BIOGRAPHY