The Finkelstein Files: Art Matters

Above: Michelle Breton, Chant Du Midi, Mixed Media, 152 x 137cm.

 

Above: Thierry B, Blush, Synthetic polymer Paint on Canvas, 122 x 91.5cm.

 

Above Left: Thierry B, Where Are You Now?, Synthetic Polymer Paint on Linen, 170 x 250cm, Private Residence, Caulfield.

Above Right: Michael Whitehead, Things Forgotten, Synthetic Polymer Paint & Mixed Media on Canvas, 120 x 150cm, Private Residence, Caulfield.

 

The definition of decorative means to make something more attractive – to embellish and beautify and enhance one’s environment. In France, the term decorative is celebrated in all its forms from furniture, to carpets, soft furnishings and ornaments. Decoration is an art form in itself to be revered and admired. Why then, does the word ‘decorative’ sound so dirty when we apply it to art ?

To decorate one’s environment is to create a space which reflects your taste and admiration for certain colour palettes and styles which inform and transform wall space into ‘energy pockets’ where your eyes zoom in and rest on works you love to look at and live with everyday. And it is entirely personal. What we are drawn toward and respond to may be decorative in nature, have no narrative but to take your eyes on a journey of exploration.

Above: Patricia Heaslip, Ether, Oil on Linen, 183 x 183cm –  Private Residence, Malvern.

Above: Patricia Heaslip, Untitled, Oil on Linen, 183 x 183cm –  Private Residence, Brighton.

Above: Patricia Heaslip, Diamond Soul, Oil on Linen, 183 x 183cm.

Thierry B Fine Art offers our clients possibilities and services which no other gallery includes in Melbourne. If you are placing your greatest asset on the market for sale, our stockroom holds over 400 paintings by an eclectic range of 12 artists including the prolific portfolio by Thierry B himself, whose series number 16 different styles. Truly something for everyone – we are adept at working within your budget and timeframe — whether it be for an Open For Inspection to the public, or a private function hosted at home, or longer term rentals available for commercial and private spaces.

More cost effective than alternative options – our service provides delivery with our professional carriers and installation by Thierry B for the wow factor. Thierry has been told by so many satisfied clients that he ‘has the eye’ & will deftly tweak a few pieces of your existing furniture, or suggest some tired art works require a ‘facelift’ with a sharp custom frame, can source on your behalf furniture, soft furnishings where required.

“Thank you to Thierry B – he has ‘the eye’! With our renovation complete, we had many blank walls staring back at us but had no idea where to start. Thierry was able to assist us with proportions and existing work we owned and even the placement of furniture so that it all flowed beautifully from one room to the next” – Mr. & Mrs. Cawthorne, Brighton.

 

Above: Thierry B, Darwinism Series, Indulgence of Freedom, Synthetic Polymer Paint on Linen, 200 x 300cm.

Above: Thierry B, Darwinism Series,  Synthetic Polymer Paint on Linen, 170 x 250cm – Private Residence, East Melbourne.

 

With as many as 16 painting styles, Thierry B has a healthy insta following  – all enamoured with his diversity and talent. He is open to accepting commissions for clients who are keen to add his energy to their blank walls at home. Thierry regularly makes house calls to offer a complimentary consultation to recommend the ideal proportions of a painting which can act as an anchor point in a room. Clients are then able to select their preferred colour palette to either work back with existing work hanging or create a new energy in the space.

 

Above Left: Phonsay, Under My Umbrella, Acrylic on Linen, 122 x 122cm.

Above Right: Phonsay, Bubblegum Dream , Acrylic on Linen, 122 x 122cm.

Phonsay‘s clever and whimsical digital photographic prints have long been a favourite among Thierry B clients, who are drawn in with his quirky compositions all expertly framed in this limited edition printed on super fine, museum-quality rag paper, offering an aquarelle stipled-like effect. This year sees Phonsay picking up his fine hair paint brushes to create some client commissions of portraits of families, and the odd surprise gift for a special birthday for hard to buy for loved ones. The paintings start from 122 x 122cm in size and can be commissioned to size with an emerging price tag to boot. An affordable way of adding a treasure to your growing collection.

Above: Michael Whitehead, Ever After, Synthetic Polymer Paint and Mixed Media on Linen, 80 x 270cm, Private Residence, Toorak.

Above: Thierry B, Pieces of You, Synthetic Polymer Paint on Linen, 122 x 91.5cm, Private Residence, Toorak.

Some of Thierry B’s satisfied clients:

“We are both so thankful for your decorating expertise for our home – from advice on paintings for our space, design recommendations and of course, your skillful hanging – it now looks amazing!”  –  Karen and Justin, Malvern.

“Hi Thierry – this is the quickest makeover ever. Thought I was in the wrong apartment. Looks brilliant. Love your work. Many thanks for your time today. Very much appreciated” – Julie & Michael, Southbank

Above Left: Thierry B, Unlimited Series, Synthetic Polymer Paint on Linen, 183 x 183cm – Port Melbourne Residence.

Above Right: Thierry B, Between the Lines Series, Synthetic Polymer Paint on Linen, 137 x 122cm – Port Melbourne Residence.

Above Right: Thierry B, Calming Chaos, Synthetic Polymer Paint On Linen, 183 x 183cm – Williamstown Residence.

It is always appreciated when our valued clients take the time to express their gratitude: “Dear Thierry, I’m walking around my house in absolute awe with what you have created here with your style and flair, something that I would never have been able to achieve. Thank you so much for everything so far. I really appreciate you coming out this afternoon and fine tuning the furniture and putting up the family photos which are very important to me and you’ve made it look classy and elegant. I know it’s a busy time of year for everyone so I appreciate you fitting today into your schedules. I can’t wait to see the house in Belle magazine hopefully sometime in 2017 to show off your hard work for all to admire. You’re a true gem and a beautiful person! Justine xxxx” – John & Justine, Williamstown.

Thierry B Fine Art is located at 473 Malvern Rd, South Yarra.

Gallery hours: Monday – Saturday, 11am – 5pm, Sunday 12pm-5pm or by appointment: 0404861438.

 

The Finkelstein Files: Golden Repair

Above: Remembering the Pattern, 2016

Analogue collage, oil stick on hand painted rag paper, 34 x 46cm.

Above: Where The Sun Don’t Shine, 2016

Analogue collage, oil stick on hand painted rag paper, 35 x 45cm.

“Helen Gory’s art pivots upon its connections. Its power lies in its links. Her images seem to unspool and reveal an almost filmic flow of associations. Golden Repair, the title of her solo exhibition at Chapman & Bailey in Abbotsford, refers to the Japanese procedure of Kintsugi. This process brings together and reconnects fragments of that which was whole; it is, in essence, an embrace of imperfection. For Gory, the procedure stands as an analogy of the honest acceptance of often overlooked and almost forgotten aspects of her inner self. It’s a type of re-stitching – an aesthetically realigned spill-out of the contents of a mental handbag.”

Attending the opening of the exhibition, I was reminded of the astute observations of esteemed art historian, Ken Wach, (above) as he waxed lyrical about Gory’s gilt creations. An Associate Professor and former Head of Creative School of Art at Melbourne University, Wach has long proved a valuable treasure trove of knowledge when sluicing to the core of an artists’ intention.

Above: (detail.) Never Ending, 2016

Collage and oil stick on paper, 140 x 100cm.

The mixed-media works in Golden Repair speak of desire and displacement. Through her art Gory searches for patterns and meanings; her mind is seduced by connections and coincidences as it points toward a form of self-interrogation. Thoughts are prompted by fractured, fragmentary and juxtaposed images – an inventive vision of constructed parts rather than given wholes.

“This body of work is autobiographical, and has taken me close to three years,’ says Gory. “To celebrate that which is not perfect resonates deeply with me. These distortions and missing bits and pieces, floating in mid-air, are expressions of seeing beauty in who we are, as we are,” explains Gory. “Finding the connections are our strengths.”

Above (Left to Right) : Three generations of Gory women together, artist Helen Gory with her daughter and grand-daughter.

Recognising the beauty in broken things, is interwoven with the Japanese philosophy of wabi-sabi – to find beauty in broken or old things. By giving new life, or rebirth to objects by celebrating their flaws and history, the 15th century practice of Kintsugi can be applied to life. To find value in the missing pieces – to bring light the scars that have come from our experiences, to find new purpose through seeing the beauty of imperfection – is a gift of innate prosperity.

I have long been an ardent fan of the collage as a unique medium of exploration – signposting our most primal visual markers. Assemblage is a dense and intricate process not for the feint-hearted as Gory explains of her practice. Gory’s ability to track and expand upon her ideas are referenced here in an earlier body of works here.

For an artist, who once was firmly fixed on the spectator side of the studio, her gallerist eye is sharp and pincer-like. An advantage of two decades of running a commercially successful exhibition space, and nurturing the fledgling careers of many of Melbourne’s finest talent, Gory has a head start. To then be able to ‘un-see’ what she can already ‘see’ is the trick to tying it all together. The Guts & the Gory.

Above: Holding My Flame, 2016

Oil Stick on Board, 38 x 34cm.

Above: Feeding the Donkey, 2016

Oil stick and pastel on paper, 122 x 86cm.

From a collectability perspective, the works are genuine nuggets of gold. Priced extremely affordably, it is tempting to select more than one work of art. A pair juxtaposed and pitted against themselves works well. I often ask my twin 7 year-olds their opinion on new works – their untrained eyes often ‘see’ better than most jaded buyers with decades of viewing under their proverbial belts. After a short discussion, they both select the same work – declaring it ‘special’.

A week post-opening, the collection is fast on its way to selling out – audiences are aware that what they see and feel resonates within long after stepping away from the image. That’s how great art is meant to make you feel. That you have stumbled upon something precious that makes you feel joyous!

Golden Repair is on until April 1st at Chapman And Bailey, 350 Johnston St, Abbotsford. For sales call the gallery 03 94158666, mon-fri, 10-5.30, sat 10.30-4.30.

The Finkelstein Files: Prodigious Paintings by Master Painter Thierry B

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Thierry B is well known for his colossal sized canvases – all abstract in style and resolutely zen in spirit. The three framed works featured in our South Yarra gallery measure 2 x 3 metres each. Happy to paint commissioned works for his clients, Thierry loves to bring colour, movement and energy into a room changing the feel forever into a space where you are at home.

Bigger indeed, can be better! If you have a space or multiple areas which have blank walls crying out for some special treatment, visit Thierry B Fine Art where we showcase larger paintings. We also offer a custom framing service, delivery and installation included in our pricing for a total turn-key solution for your home or business.

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Above: Master painter, Thierry B. in paint splattered overalls doing what he loves most – creating! Pictured here in his Huntingdale studio hard at work.

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Thierry B.
The Well Wisher
Synthetic Polymer Paint On Italian Linen
200 X 300 cm
Signed and Dated Lower Right
Titled Verso

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Thierry B.
Tides Turning
Synthetic Polymer Paint On Italian Linen
200 X 300 cm
Signed and Dated Lower Right
Titled Verso

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Thierry B.
Indulgence of Freedom
Synthetic Polymer Paint On Italian Linen
200 x 300 cm
Signed, Dated and Titled Verso

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Thierry B.
New Chapter
Synthetic Polymer Paint On Italian Linen
183 x 183 cm
Signed, Dated and Titled Verso

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Thierry B.
The Love Exchange
Synthetic Polymer Paint On Italian Linen
170 x 250 cm
Signed, Dated and Titled Verso

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The gallery is open Monday – Saturday 11am – 5pm and Sunday 12pm – 5pm until Christmas Eve @ 473 Malvern Rd, South Yarra.

For an appointment outside these hours, please call  0404 861 438 or email art@thierrybfineart.com.

Happy Holidays to all from me and mine – to a new year filled with health and happiness for all.

Vicki xx

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The Finkelstein Files: Blissed out in Bali

Om Swastiastu, greetings from Bali, where in  Hindu mythology, the monkey king can weaken enemies with a wish! Here I am reporting from the beachside totally enchanted by the feast for the eyes which surrounds my every step.

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From the street flower sellers to the locals blessing their establishments as early as the rooster crows and the sun comes up, Bali is filled with an quiet energy that hums. After a dedicated week of jettisoning the last vestiges of the long, chilly Melbourne winter, I feel re-born. Breakfasting on the beachfront with fresh juices, local fare and salt air has brought me back to the land of the living.

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The slow somnambulistic pace is easy and easy on all the senses – just what the doctor ordered. Sometimes you happen across artists grinding pigments in the alleyways for their next canvas – painting is a very usual practice and way of life here. A reminder that the simple pleasures are often our greatest. Pictured below here is The Finkelstein Files photographer, Sophie Agiriou, a woman with a passion for people and places as you can see plastered all over her smiling face surrounded with her new-found feathery friends!

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As I watch the sunset, I chow down on yet another delicious meal, where the dishes are clean and filled with local produce bursting with flavour. I have caught up with a few friends to share a meal and some good times. I met up in Ubud, home of the internationally attended Ubud Writers Festival, with Melbourne-based painter, Kate Shaw who exhibits from Taiwan to New York and everywhere in between. She was heading off to swim with the ancient turtles that pepper the Gili Islands a short boat ride away. Exciting to chew the phat over the Australian art scene and what is coming up for her locally and overseas in the next year. Another ex-pat I had the pleasure of seeing, is fashionista, ex-Fitzroy bespoke shoe designer, Johanna Preston of Preston Zly fame, as always partnered by her softly-spoken partner, Peter Zly.

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A dear friend, David Elsey, a rocketing well-being practitioner now lives here with his partner Lin Lin, sharing his talent for assisting those who need a mind-body-soul shift back into the here and now. The Finkelstein Files will share more of David’s successful NLP-based modality in an upcoming post and special opportunity for readers to participate in a unique workshop positioned for July 2016, here in beautiful Bali.

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Although not native, I feel a Namaste is the order of the day somehow, as another day dips down into the ocean, the night ahead filled with frangipani-scented promise of tales to come.

Big love from Bali,

TFF xx

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The Finkelstein Files: The Pixel Princess

Needlepoint often invokes clichéd images of lighthouses, landscapes or floral patterns, but Michelle Hamer has a different approach. Hamer is using this textile craft to explore the urban landscape and “the small in-between moments that characterize everyday life.”

Hamer-I've got Diamonds in my eyes!

This unexpected imagery is very familiar. The billboards, chain link fences and highways are scenes that we all recognize, but perhaps they are also scenes we overlook. These hand-stitched works help us to have new eyes in seeing the landscape that is around us. In the artist’s words, “This traditional technique exposes an ironic romanticism present between manual pixelation and the digitisation of imagery in contemporary society.”

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“I see my work as a type of socio-historic documentation. The images depicted are in between moments that we often take for granted. The obviously slow process allows viewers to become more conscious of these moments which are captured within an instant and consider the difference between the manual and the digital.

The in-between spaces (on/off ramps of freeways etc.) where signage can often be found is both necessary for our infrastructure, but also generally not noticed. Similarly, much of the text, advertising signage, streetscapes are so familiar we can fail to focus/really see it, but it’s often reflective of our broader social ambitions, aspirations and edicts.

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“I believe art can explore issues in ways that bring them to the fore. To me, my art very personally addresses some quite difficult issues about illness and social edicts and aspirations. I’ve got very strong personal ties to issues of trauma, health and war and I know that people read different things into my work which I think is good, but I know some people who have big struggles who feel acknowledgment in it. Art can help raise or highlight serious issues as much as it can be about commodification. As an artist, I do grapple with these things. In the end, I guess all we can hope for is to inspire people to ask more questions.”

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“I have a couple of big things I’m looking forward to. I’ll be spending some time making some London based work for an art fair there and I also have an ambitious interactive project planned. I’m ultimately interested in the idea of socio-historic mapping and boundaries. So I hope to get opportunities to continue engaging with the world and highlight the challenges we face. I feel lucky that I have a somewhat dark sense of humour and much of the ‘stuff’ I end up documenting (and the edge of life that faces challenges) keeps me pretty amused.”

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Michelle is represented by Fehily Contemporary in Melbourne. See Michelle Hamer’s AUSIMED art work here

august 2015

The Finkelstein Files: Art deco decadence alert!

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Art Deco decadence alert! BGH Australia, housed in the Royal Bank Chambers in Collins St, Melbourne, was keen to add a design element to unify this historical space. Melbourne lighting designer, ILAN EL, drew inspiration from the grand Art Deco building constructed in 1941. In tribute to the era’s eclectic influences, EL has referenced Art Nouveau, ancient Egypt and traditional Japanese styles to create an arresting design that is richly ornate, yet coolly elegant. From many design print proofs emerged the clear film material that provides a textural and densely patterned surface. It evokes quintessential Art Deco: symmetry and simplicity founded on strong geometric shapes. Remarkably, every locking mechanism, metal ring and brass wire has been custom-made for this colossal 13 metre tall bespoke chandelier.

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Half a year in production phase from inception, culminated in 13 hours to install with 13 shades over 13 meters to completion. Pixels and pigments blend seamlessly to recreate a sense of lead light reflection – an arresting and sensual glow of hues. Need to replace a globe? No problem. El has cleverly constructed a concealed ceiling panel to house a pulley system making this a task as simple as a lightbulb moment.

For bespoke enquiries please contact Vicki on +613 404 861 438 or art@thefinkelsteinfiles.com

The Finkelstein Files: A Source of Light with Ilan El.

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Good product design, like a good book, is impossible to put down. It hooks you with crafty storytelling and the spirit of its characters. These somewhat intangible qualities are imbued in the objects designed by Ilan El Light Life.

Tel Aviv born and bred, El cites early Bauhaus architecture as an early influence as an international style. Post graduation from the School of Architecture in Tel Aviv University, El launched a multi-disciplinary design studio specialising in interior, exhibition and product design.

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Exploring and creating spatial experiences, he chose Melbourne, Australia’s Masters program at RMIT to stretch his design wings. Longing for fresh air, new light, friendly faces and good coffee, he launched himself into the attitude that makes our home city one of the most liveable in the world.

Specialising in Experiential illumination, El explored the spatial relationships light creates with environments and their occupants. Ways to harness illumination for a better wellbeing became a lynchpin for his explorations.

With support and and encouragement from peers and mentors, El quickly garnered both commercial and critical success. His small, artisanal practice is what Ilan El does best. Two hard working industrial design graduates form the backbone of the studio practice, assembling from detailed briefs and architectural drawings. El’s belief in the value of providing a mentoring platform with his employees creates a harmonious and generous working environ where no task is too small or too herculean.

Several years ago, El was invited to collaborate with the ‘Space dance’ group in Tokyo. The group is known for their contemporary Japanese dance – Butoh. It is an avant- garde performance art that has its origins in Japan in the 1960’s, concentrating on body formation and momentous interactions.
 Consequently, El was inspired to design an interactive adjustable luminary named nu. The piece is constructed by four sections (limbs) hinged together (joints) and ready to take on endless formations. Combined with illumination, it generates an environment for exploration of light sculpting; Dance with light.

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Nu is a perfect example of his ability to create works that can become unique to any situation, or any client’s whim. And endless amount of shapes and configurations can be created by moving the pieces on their connecting swivels, which in turn effects the way the piece hangs, and the direction the light is cast. Notably, the simplicity of each of the segments’ form, slightly tapered to one end, belies the potential complexity of the greater whole – it can’t help but be interesting to look at. Each segment glows on a different side, allowing light to emanate in all directions with light and form. When closed, it seems to hug itself, creating a geometric arrangement of light that evokes Escher’s impossible shapes.

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The piece is also as comfortable on the floor or a table as it is being hung from a ceiling – effectively doubling as a sculpture it can again be arranged into any desired configuration. Larger versions are currently in development as I type.

If you like what you see and would like to know more, email art@thefinkelsteinfiles.com or contact Vicki via +613 404 861438.

TFF xx

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