Born in Bessarabia, one of Russia’s provinces, then student in an art program in Bucharest, Mirca Milcovitch joins his group of friends, also painters, with whom he often stays in a village in the Carpates. This group is quickly considered out of the realistic and social art.
Following May 1968, he’s invited to join the “six jeunes peintres roumains” exhibition in Paris. That is when he decides to move there. He chose exile and had to wait two years before his wife Marga, also a painter, could join him.
He is quickly given the French nationality. He got a workshop at “la Cité des Arts”, then from “La Ville de Paris”. That’s when he started to work on prints for over ten years. A few of them are reworked with a silver mine, pencil, or later with charcoal. Some of them are preserved at “La Bibliothèque Nationale”.
Mircea Milcovitch is really interested by the universal symbolic which led him to publish “Des symboles universels à la spiritualité chrétienne” in 1991 (Editions Retz).
Very much inspired by nature and those telluric forms, Milcovitch practices in the trade of pruning in the shale of Savoie. Once he got installed in his workshop in Nogent-sur-Marne allowing to prune more easily, he started to work with white stones such as Carrare’s marble.
Milcovitch participates to a lot of group exhibitions in Europe such as La jeune Sculpture, Comparaisons, Grands et Jeunes d’Aujourd’hui, Salons d’Automne. He got several orders, such as monumental marble sculptures.
Mirca Milcovitch relentlessly carves hard stones, driven by the search for the elementary form, as he likes to call “la forme de la forme”. Looking for a cosmos somewhere between the curves, located at the crossroads of organicity and purity.