Woman 3 is an intimate and delicate work executed on silk, a medium that naturally lends itself to the ethereal and fluid quality of the subject. Measuring 20cm x 30cm, the piece carries a sense of focused introspection, utilizing the translucent properties of the silk to create a soft, luminous atmosphere.
The composition centers on the female form, rendered with the technical precision of a master sculptor and the nuanced delicacy of a thangka specialist. The lines are graceful and deliberate, capturing the subtle contours of the subject with a rhythmic elegance. Because it was created on silk, the pigments appear integrated into the fabric rather than resting on top of it, giving the figure a dreamlike, almost spectral presence.
The year 2005 marked a significant transitional period for the artist, Mica Onon, representing the culmination of her formal fine arts education in San Francisco. This piece reflects a sophisticated blending of cultural heritages: the structural weight of her early sculptural training in Mongolia meets the expressive fluidity of Western contemporary painting.
The color palette is likely soft and harmonious, allowing the natural sheen of the silk to act as a mid-tone. There is a palpable sense of stillness in “Woman 3,” evoking a meditative quality that hints at the artist’s deep professional background in traditional Buddhist iconography and thangka painting. It is a work that prioritizes internal grace over external detail, inviting the viewer into a quiet, personal space.
Artist Profile: Mica Onon
Mica Onon is a multidisciplinary artist whose work is deeply informed by her extensive background in sculpture, traditional Buddhist art, and contemporary painting. Her career spans decades and continents, bridges the gap between classical Mongolian techniques and modern aesthetic sensibilities.
Education
Master of Fine Arts (Fine Art Painting): Academy of Art University, San Francisco, CA (2001–2005).
Bachelor of Arts (Sculpture): College of Fine Arts, Ulaanbaatar, Mongolia (Honors).
Professional Legacy Before transitioning into contemporary painting, Onon held a prestigious role as a curator in Ulaanbaatar, specializing in Buddhist Art from the XVII – XX centuries, with a focus on Thangka painting and bronze sculpture. This period significantly influenced her understanding of sacred geometry and delicate linework. Her early career also included work as a sculptor for a government-sponsored studio in the early 1990s.
