The Finkelstein Files: Art Appreciation 101

Why does art matter?? For without perspective, life would be awfully dull!  It is our most expressive form of sharing. Art matters because it illustrates the human experience—the wonder of it, the bewilderment of it, the whimsy of it, and so much more. We would not be connected so deeply without the existence of art

The arts matter because they help us see the world from different perspectives. They give us empathy and help us understand people, places, periods of history, and issues with which we may otherwise be unfamiliar. They comfort us in grief and energise us in celebration. They are important because they can act as a catalyst for change…they can start a revolution! The arts ignite something in our brains that I can’t explain, but I know it’s essential for life.


Above: Artwork by painter Michael Whitehead, Document, 2018, Mixed Media on Linen, 150 x 200cm. Interior styling courtesy of Melissa Gries of Zenza Interiors.

Are you a newbie to the art of collecting? Here is a substantial reason how you can start your very own art collection! Post October this year, if you have a registered ABN for a business which is turning over under $10million annually, an art work upto $20,000 will be fully tax deductible under current ATO regulations.

So effectively, you could purchase 5 x paintings at $20,000 each & have something to show for $100,000 taxable amount owing. No better time to invest in an art collection! Read more HERE by arts accountant specialist & valuer, Michael Fox regarding the recent ATO updates.

Above: Artwork by painter Michael Whitehead, Manuscript, 2018, Mixed Media on Linen, 180 x 210cm. Price on Application: art@thierrybfineart.com

Above: Artwork by painter Michael Whitehead, H, 2018, Mixed Media on Linen, 180 x 210cm. Price on Application: art@thierrybfineart.com


Above: Artwork by Patricia Heaslip, Walk In Silence, Oil on Canvas, 122 x 122cm. Price on Application: art@thierrybfineart.com

 

Above: Artwork by Thierry B., Nuanced, 2018 – Dreamscape series, Synthetic Polymer Paint on Canvas, 122 x 183cm. Price on Application: art@thierrybfineart.com


Above: Artwork by Thierry B., Fairytale, 2018 Dreamscape Series, Synthetic Polymer Paint on Linen, 152 x 122cm. Price on Application: art@thierrybfineart.com

 

Above: Artwork by Wilson LinThe Things We Do For Love, Fractal Series, Synthetic Polymer Paint on Canvas, 183 x 274.5cm (triptych). Price on Application: art@thierrybfineart.com

Above: Artwork by Wilson LinFresh Strike, 2018, Fractal Series, Synthetic Polymer Paint on Canvas, 170 x 250cm. Price on Application: art@thierrybfineart.com

 

Above: Artwork by Thierry B., Mindful Moments, 2018 Dreamscape Series, Synthetic Polymer Paint on Linen, 152 x 122cm. Price on Application: art@thierrybfineart.com

 

Above: Artwork by Patricia Heaslip, Landlines, Oil on Linen, 183 X 183cm. Price on Application: art@thierrybfineart.com


Above: Artwork by Thierry B., Entanglement, 2018 Coral Series, Synthetic Polymer Paint on Linen, 152 x 122cm. Price on Application: art@thierrybfineart.com

 

Above: Artwork by Thierry B.,Voyage, 2018,Synthetic Polymer Paint on Linen, 122 x 91.5cm. Price on Application: art@thierrybfineart.com

Above: Artwork by Thierry B.,The Deep Blue, 2018, Synthetic Polymer Paint on Linen, 183 x 183cm. Price on Application: art@thierrybfineart.com

Above: Artwork by Thierry B.Starling Zen-sation, 2016,Synthetic Polymer Paint on Linen, 183 x 183cm. Price on Application: art@thierrybfineart.com

If you have a registered ABN for a business which is turning over under $10million annually, an art work upto $20,000 will be fully tax deductible under current ATO regulations. So effectively, you could purchase 5 x paintings at $20,000 each & have something to show for $100,000 taxable amount owing. No better time to invest in an art collection! Read more HERE by arts accountant specialist & valuer, Michael Fox regarding the recent ATO updates.

The Thierry B Fine Art website offers a complete stockroom to view available works, interior pages with the paintings installed into their new homes for inspiration, in addition to a testimonial page which sounds positively smarmy – every word is true!!! We look forward to welcoming you into our bespoke gallery space, complete with oversize stockroom for your viewing pleasure.

Thierry B Fine Art  is located @ 473 Malvern Rd, South Yarra. Gallery hours: Monday – Saturday 11am – 5pm & Sunday 12pm – 5pm or by appointment via art@thierrybfineart.com

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The Finkelstein Files: The Art of Living Joyfully

Tolarno’s, a St.Kilda gastronomic institution for many decades of loyal customers gathered regularly to partake the bonhomie and Mirka Mora murals which festooned the walls with ducks, serpents, floral and doll-like motifs.

One of Australia’s best-loved artist, Mirka Mora has passed this week, aged 90, much to the distress of the visual art community. Her work has been revered, enjoyed and collected for as long as Mirka has been creating it. Mirka, one of Melbourne’s most famous bohemians, transformed the culture of her adopted home town since emigrating to Australia in the 1950s from war-torn France.

“Art is the child of the imagination and gives life”, Mirka famously uttered.

Throughout Mirka’s life, art was a constant. Her sensuous, cherubic figures — described by one 1960s art critic as ‘medieval imps’ — are instantly recognisable. Mirka created a prolific output of work spanning across six decades, with a range of media including drawing, painting, embroidery, soft sculpture, mosaics and doll-making.

 

Mirka Mora with her Soft Sculptures, August 29, 1979. Image Courtesy: Fairfax Media.

 

With more than 35 solo exhibitions throughout her career, including a retrospective at Heide Museum of Art in 1999-2000, celebrated 50 years of her work. Later this year in October, Heide will mark her 90th year with Mirka Mora: Pas de Deux – Drawings and Dolls, with its curators have written a book, Mirka and Georges, to coincide with the exhibition.

 

It seems nearly every Melbournite who has worked, lived and breathed amongst the artistic milieu has a Mirka tale to tell, each more arresting and controversially charming than the next. She was the pied-piper of the art tableuax, weaving her special brand of magic-like pixie-dust wherever she went. What a life worth living! Mirka seemed to leave a trail of art-lovers; charming them with her whacky yet wise stories of her colourful life, led with joy. Her joy was infectious, with people often referring to her child-like approach akin to madness – Mirka was perhaps the most sane of all.

 

Mirka’s studio wall, 2014, Tanner St, Richmond, Melbourne.

Widely respected art dealer, son William Mora explains the magic which was Mirka, “an artist and mentor who touched the lives of thousands, she has had an indelible effect on Australia’s cultural life. The joie de vivre she has shared with so many will continue in her immense legacy of art and her spirit of generosity.”

“Her colourful, sensuous iconography has emerged from the breadth of her interests and reading, her love of classical mythology, her desire to reclaim and make sense of childhood and familial relations, and her recognition of the power of sexual desire”.

 

Mirka Mora, Mother and Child, 1984, Gouache on paper, 18 x 13cm.

 

Carrillo Gantner AO, expresses his heart-felt memories in the forthcoming book Mirka Mora, A life of Making Art by Sabine Cotte, published by Thames and Hudson Australia and  due for release in 2019:

“Many years ago my wife and I were sitting with Mirka in the café at the Australian National Gallery in Canberra. I asked her to tell me the story of her miraculous escape at age 13 from the train heading to the Nazi death camp at Auschwitz. She started to relate how she wrote a note with the names of the stations she was passing on a scrap of paper addressed to her father in Paris and pushed it out through a crack in the cattle truck in which she was being transported. Someone picked it up and sent it on to her father who worked out where she was headed. He bribed the Nazi authorities and she was released at the gates of Auschwitz with the eyes of the inmates staring out at her through the barbed wire. Then in the midst of the café crowd, Mirka burst into wild, incongruous laughter.


Mirka Mora, Friends and Lovers, 2004, Oil on Canvas, 119.5 x 119.5cm.

 

“Those large round eyes staring out at her are there in so many of her paintings and other works. So is her laughter in the face of death and in her commitment to the outrageous and colourful miracle of life. You cannot help but fall in love with Mirka. Everyone who meets her or stands before her work feels the sense of joy and of life lived to the max. If Australia had National Living Treasures as they do in Japan, Mirka Mora would undoubtedly be one of ours”,

 

Mirka Mora, Medieval Gathering (1987-1992), Oil on Canvas, 122.0 × 214.0cm, Image courtesy: National Gallery of Victoria, Melbourne.

 

“Mirka always said that my mother bought the very first painting she ever sold, and many others in the decades that followed. They remained the closest of friends and I grew up with regular injections of her art, her delicious French accent and delicious French cooking, her laughter and her occasional behavioural extremes. She always managed to put herself at the epicentre of attention, punching her fist into my 40th birthday cake, grabbing my hand and jumping into the swimming pool fully clothed at a polite Toorak party, turning a thank you speech at a Town Hall dinner in her honour into a dissertation on the delights of the clitoris, or hoisting her hospital gown to show me and her delighted hospital roommates her generous surgical scar and so much more. 

 

Mirka Mora, Together, 1996, Oil on Canvas, 50.5 x 61cm.

 

“For my mother, Mirka represented the freedom of the artist’s life that she wished she herself might have led were it not for family pressures and social convention. For my children, Mirka almost came from another world, bearing the pleasures of surprise and fantasy. She would draw some strange creature for them and inspire them to repay the favour with their own imaginative scribbles. They loved her. Absolutely everyone loved her, whether they were children or elderly students at her Adult Education classes who imagined once again that they just might be.”

 

 

“First and always foremost, Mirka was an artist. She loved to paint or build soft creatures or embroider pictures or set mosaics. Every day of her life she worked tirelessly at her art, always sketching or pulling out her watercolours or researching images in ancient art books, always with the intensity of someone who treasured life and valued time. Even as she grew old, she told me that she had to work at her easel for hours every day, summoning mythological angels, animals, birds and plants in vivid colours. And always there were those eyes.”

Mirka’s vivacious personality and her vitality pegged her as a creative who blurred the boundaries by speaking with spirited sense of humanity. Thank you Mirka – you will certainly always be remembered for your exuberance and for exemplifying the art of joyful living.

The Finkelstein Files: Moody Blues


Above: Visitor from Singapore to the gallery with Thierry B. over the weekend. New Coral Series painting installed entitled, The Deep Blue, 2018, Synthetic Polymer Paint on Linen, 183 x 183cm, P.O.A

How many Abstract painters can confidently say, their oeuvre encompasses twenty-seven (27) different styles available to his clientele?! So much of Thierry B’s art can be traced and talked about in terms of intention. The use of repetition in mark making, draws the viewer into the picture plane. It can be seen as metaphor for making his mark upon the world on a physical scale. Lyrical and delicate imagery, these fluid shapes transform spaces they inhabit. Hypnotic and healing, many of  Thierry B’s series have been widely collected and photographed in private collections across Australia and overseas.


Above: Jane Valentine’s Shielding II, Carrara Statuario Marble on granite base, 110h x 110w x 31d cm, P.O.A

 

Jane VALENTINE developed a strong passion for marble during her time spent in the sculpting village of Pietrasanta, situated at the base of the Carrarra Mountains in Northern Italy. During her time there she explored a strong and individual style of art making. Valentine’s marble forms survey classical simplicity and the purity of form. Much like the later works of Romanian sculptor, Constantin Brancusi, her structures and vessels are abstracted and embrace various aspects of the natural world. Her aesthetic resonates with the essential elements of sculpture and its traditions to reveal the clarity of the material and its form. Artist Jane Valentine, working in her studio Nicola Stagetti, in Pietrasanta, Italy.

 

 

Valentine has participated in numerous solo and group exhibitions throughout Australia and in Italy. She has received several commissions for her work including three major Statuario marble works for Chadstone Shopping Centre in 2009. Valentine represented Australia at the 1999 International Sculpture Symposium in Changchun, China and her work is on permanent display at the Changchun International Sculpture Park. Her first major exhibition was representing Australia in the 1999 International Sculpture Symposium in Changchun, China.  More recently, her pair of Droplets, 2014, (pictured above) are now sited at The Gandel’s Pt.Leo Winery & Sculpture park on the Mornington peninsula, outside Melbourne, an hour out by car on the freeway.


Above: Above: Patricia Heaslip, Resolution, 2018, Oil on Board, 137 x 137cm. Private Residence: Port Melbourne, Australia.


Above: Patricia Heaslip, Undercurrent, 2018, Oil on Board, 137 x 137cm, P.O.A

Above: Patricia Heaslip, Happy Heart, 2016, Oil on Linen, 183 x 183cm. Private Residence: Malvern, Melbourne, Australia.

With art we travel. What leads us to search out meaning for the walls of our inner harbours and our exterior retreats? What combination of space, surface and colour lead us to a feeling of extended openness, of belonging to our surroundings, of expansion of space and the glimmer of inexplicable lightness.

As we travel through architectural spaces, designed places – the search for the spontaneous and the desirable, and at times the spiritual, can often be mirrored in how we choose to demarcate our ideologies of place.

 

Above: Thierry B, A Blue HeartDarwinism Series, 2018, Synthetic Polymer Paint on Linen, 122 x 91.5cm, P.O.A

 

Thierry B explains the art of zen; “My work is all about introducing the joy of colour into our lives, often seen here through cross-sections which challenge your spatial perception. The vibrancy of hue and curvilinear forms in repetition create a dynamic feast for the eye, where they are in constant motion. Energy maps a pathway for our eyes and hearts to meld.” – Thierry B, July 2015.

The Thierry B Fine Art website offers a complete stockroom to view available works, interior pages with the paintings installed into their new homes for inspiration, in addition to a testimonial page which sounds positively smarmy – every word is true!!! We look forward to welcoming you into our bespoke gallery space, complete with oversize stockroom for your viewing pleasure.

The gallery is located @ 473 Malvern Rd, South Yarra. Gallery hours: Monday – Saturday 11am – 5pm & Sunday 12pm – 5pm or by appointment.

The Finkelstein Files: In My Room

“Mother says there are locked rooms inside all women; kitchen of lust, bedroom of grief, bathroom of apathy.”

– from ‘The House’ by Warsan Shire

In My Room is the telling title of Helen Gory’s newest body of works – at once an invitation and a provocation. Strongly symbolist in nature and style, she has created a blueprint that challenges the viewer to encroach on her personal space; both as audience and interrogator.

Gilt-laden images are scratched into the paper, challenging its singular appearance. I am reminded of Austrian-born artist Gustav Klimt, who once said something like ‘art is a line around your thoughts’. This idea resonates throughout Gory’s works, which are at once deeply personal and universal. Draw a line; make a point; take a stand; risk something.

Gory’s oil-stick women delve backwards into unrevealed pockets of spaces, memories compartmentalised into separate ‘rooms’. Her challenge – and ours – is to slowly, carefully unpack these subtle chimeras; expose their interior to the outer world. Woman with Leaf speaks loudest without uttering a word. Verging on naïve, these night-shade women hover between darkness and illumination. Their talisman tools may well be props; striking a pose that both regales and invites us inside.

Helen Gory opened her own contemporary commercial art gallery in 1995. Helen Gory Galerie was a pioneer in supporting emerging practitioners, many of whom have gone on to become Australia’s leading visual artists. In 2008, Gory closed her gallery to pursue a long-unfulfilled desire to make art.

Golden Bars, 2018

Paper Collage and Oil Stick on Art Paper, 140 x 110cm.

It’s a Challenge, 2018

Paper Collage and Oil Stick on Art Paper, 140 x 110cm.

Walking Back To Happiness, 2018

Paper Collage and Oil Stick on Art Paper, 140 x 110cm.

Gory’s work is best described as visual stories where humour and joy sit side-by-side with the shadows that they cast. She is concerned with uncovering what is hidden, with the act of revelation. Through the repeated motifs of fragmented body parts, women, and elements of the natural world, her often-surreal images speak of desire, longing, angst and the power of transformation.

(det.) The Leaf, 2018, Oil Paint on Paper, 109 x 67cm

The Leaf, 2018

Oil Paint on Paper, 109 x 67cm

Gory works across various medium to construct these visual narratives. Her first primary medium, collage, allows her to deconstruct, fragment, (dis)connect and reassemble, the process of creation a metaphor for the complexity and layering of human experience.

More recently, Gory has segued from collage to painting and drawing. Using oil stick, graphite and charcoal in scribbling and scratching-like motions, she adds/removes layers in a repetitive act of mark-making that is intrinsic to the interior world she is revealing.

The Pods, 2018

Oil Paint on Paper, 109 x 67cm

(det.) The Pods, 2018

Oil Paint on Paper, 109 x 67cm

The Scarf, 2018

Oil Paint on Paper, 109 x 67cm

The Scarf, 2018

Oil Paint on Paper, 109 x 67cm

Last weekend to see In My Room!

Head to: Backwoods Gallery, 25 Easey Street, Collingwood, VIC, Australia (map)

The Finkelstein Files: The Fine Art of Investment!

Wondering how to maximise your tax return for your business and feel like you’ve come out somehow on top?! With Australia’s tax breaks available to businesses which turnover under $10 million annually, owning your own art collection has never been so simple.

Michael Fox, a leading Melbourne tax accountant specialising in the arts explains, “The rules changed about two years ago regarding buying art for your business,” explains Michael Fox. “Today in Australia it is much easier to gain tax breaks for buying works of under $20,000 than it ever was before,” he says. Fox who helps people with their tax every day says one of the big loopholes people can exploit, is the “Turnbull’s Tradies” – a Small Business raft of tax measures, which allows small businesses to claim their expenses up to $20,000. “If you have an ABN, then under the small business act you can claim the entire sum of that purchase up to the tune of $20,000 each; A small business meaning turnover of less than $10 million dollars annually.

“This rule means you can buy as many individual art works as you like worth just under $20,000 each and claim them as a legitimate business expense. For example if you wanted you could buy five artworks for $19,990 each and claim a tax write-off of close to $100,000 by buying those 5 works. “I don’t think the government really intended it to be a tax break for the arts industry. At the time it was introduced so that tradespeople could claim the expense of a utility vehicle. “It is not that widely understood,” Fox says.

 

Above: Painting by Wilson Lin, Spatiality, 2017, Synthetic Polymer Paint on Linen, 122 x 91.5cm, $ 5,500. Sculpture by Jane Valentine, Harmonic Lines III, 2007, Marble on Granite base, 48 (dia) x 25 (d) x 90(h) cm, P.O.A

 

Above: Wilson Lin working on his Fractal series in studio, Melbourne, Australia.

 


Above: Wilson Lin, A Glimmering Sheet, 2018, Fractal series, Synthetic Polymer Paint on Linen, 122 x 91.5cm, $5,500

 

Thierry B Fine Art showcases the Abstract paintings and sculpture from over a dozen Australian artists. Master painter and designer, Thierry B, will also scope your home or business space and recommend the ideal proportions. The South Yarra-based state-of-the-art gallery, Thierry B Fine Art provides a turn-key solution for our valued clients – where guesswork has been eliminated for you.

With prices starting from $2,500 upto $55,000, paintings are given the royal treatment proudly sporting a custom-made frame, complimentary nation-wide delivery & installation.

Above: Master Abstract Expressionist painter Thierry B. pictured in his Huntingdale studio, Melbourne, Australia.

 

Above: Thierry B., Contrast, 2017, Groove Series, Synthetic Polymer Paint on Linen, 122 x 183cm, Corporate collection, Craigieburn Victoria.


Above: Patricia Heaslip, Landlines, 2015, Oil on Linen, 183 x 183cm, $15,000

 

Above: Michelle Breton, Trompette au Soleil, 2017, Mixed Media on Canvas, 153 x 137cm, $9,900

 

Gallery Manager and art curator, Vicki Finkelstein explains, “that while some people might be intimidated by going to a gallery and asking prices, new collectors should never be scared to talk about the budget they have in mind for buying art. “We can guide people to incredibly collectible museum quality work for under $20,000. We often work to very tight briefs for offices, homes and new collectors. Interior designers and architects for example will always come to us with a budget in mind, so we’re accustomed to taking clients through our stockroom to find the right work,” Finkelstein says.

 

Above: Thierry B. Dreamscape Series, Suddenly Clare, Synthetic Polymer Paint on Linen, 183 x 300cm, custom-framed in water-gilded, 18-carat gold, P.O.A

 

Above: Thierry B. La Vie En Rose, 2018, Synthetic Polymer Paint on Linen, 152 x 122cm, custom-framed in water-gilded, 18-carat gold, $15,000

 

Are you developing a corporate culture in your business? Are you running a business in a cut throat industry? Wanting to attract great clients and retain incredible staff? Then buy art. Not only will you claim the expense of making your office look cool, but if you are in charge, at the top end of town, you can curate a serious corporate collection.

Once you amass a cool art collection you can tour the work or open it to the public. At the top end of town the ultimate, is when these companies appoint someone as a curator and actually put together a decent collection. Then those sorts of exhibitions can go touring around the country. Granted with the name of the company attached, but still, it’s a form or a good will and very clever marketing.

 

Above: Richard Lewer, Untitled #27 (Tax Time Again), 2016, Langridge pigmented ink on sandpaper, 28cm by 23cm. Collection of Michael Fox Arts Accountant & Valuer.

Overseas this is common practice. Here in Australia companies like Wesfarmers, BresicWhitney, Allens and SBS all have great corporate collections the public can visit. Collecting art for your company isn’t just about tax savings or marketing. There have been several studies that show people who work in environments with nice artwork tend to be more productive.

Resident Curator at Allens Linklaters Maria Poulos can concur. Their collection was formed under the direction of Hugh Jamieson, a former partner at Allens, who left a legacy of 900 modern paintings. When he retired in 1995 he left behind a collection that has become central to the company’s vision and values, a collection that has continued to expand.

“The Collection represents an important part of Allens’ corporate identity and its connection to a much wider cultural world. In another sense, it’s a sign of good citizenship and creates a ‘civilised workplace’,” Poulos explains.

 


Above: Painting by Tim Blashki, Container/Contained, 2013, Acrylic on Board, 100 x 540cm, $20,000. Sculpture by Jane Valentine, Shielding II, 2014, Stauario Marble on granite base, 100 (h) x 90 (w) x 25 (d)cm, P.O.A

Above: Sculpture by Jane Valentine, Shielding II, 2014, Stauario Marble on granite base, 100 (h) x 90 (w) x 25 (d)cm, P.O.A

 

Today, corporate collections are generally no longer seen simply as a way of decorating a company’s foyer, boardroom or offices. Instead, they are seen as a marketing tool that assists in defining a corporation’s brand or reputation. Many of the organisations that focus on collecting contemporary art are in competitive industries where it is necessary to project an image of being a forward thinking, dynamic and progressive market leader in order to attract the best staff and clients.

Above: Michael Whitehead, diptych, Outcrop & Plateau, 2018, Mixed Media on Linen, 180 x 140cm, Corporate collection, South Yarra, Australia.

 

Shannan Whitney who is the CEO and Founder of BresicWhitney has watched his corporate collection grow considerably since he purchased a Bill Henson for his office back in 2003. “Art was introduced consciously quite early on. It was an important mechanism to connect customers with our brand within a physical space. It was also a nice connection piece for our staff,” Whitney says. Today he points out, that in all four of his offices, art plays a strong, but silent role.

“Firstly it’s unexpected which is great. Secondly like all art is supposed to do, it prompts a response and reaction, which is valuable and finally I think it has been an effective in helping people connect our brand with our vision,” he says. Maria Poulos echoes this sentiment at Allens, sighting the impact on staff as ‘positive’. “Lawyers often comment on the art as a great conversation starter with new clients – a handy way to break the ice. Even if someone remarks unfavourably, ‘How can you put up with that?’, art has stimulated discussion and a different way of looking at things,” she says.


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: The Power and the Passion

 

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 Antipodean anaesthma, an artist’s wet dream in point; an Archibald award-winning artist with more than 30 years of studio practice behind him, Geoff Dyer’s art has much to offer. He has looked to painting as an unconstricted means of expression, disregarding any element that might hinder his engagement with the canvas. The results pay homage to his island home, Tasmania. Her artistic heritage stands apart from Australia’s broader cultural history, marked by both its local traditions and its ancient and precious landscape.

 

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I think that it is worth saying that in comparison with the Australian art scene of two to three decades ago, today there are fewer painters who are as deeply preoccupied with the expressive potential afforded to them by the application of oil and pigment  to canvas. Has painting ceased to be a medium with a message worth conveying?

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Geoff Dyer has dedicated his life’s work to pursuing the inherent power and passion he imbues in his omnipresent paintings. Emotionally charged, they are potent channels to the deep waters which run the history of the attitudes surrounding Tasmania’s surrounding lush landscape. Fought over since Eurpoeans first claimed it as an island prison on the very bottom of the world, Dyer’s approach seems pertinent – ousting and outlasting the competition.

Dyer dishes the dirt on his prolific body of paintings: “It’s important for me to see what thematic development I’ve made over all those years. It’s clarified for me what I’ve been about as a painter. You look at the strong points, the weak points and adversities, when you’ve been in self doubt. Now it is time to take stock, keep going and hopefully to break new ground. You’re only as good as your last painting. I’ll paint on with a fair amount of confidence, but I’ll still have the self doubts that I’ve had all my life about my work. I’d like to think that the abstract series in the latter part of the book will be a continuing format for the future, a distillation and synthesising of the earlier pictorial images.”

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His old mate, and fellow Hobart resident, author Richard Flanagan, the subject of Dyer’s 2003 award-winning Archibald portrait,  waxes lyrical about the man himself: “I loved the way he talked about life and I discovered beneath his carnival front, a gentleness and true humility. I realised art mattered to him profoundly, that he understood art as only a few do and that he had a sense of Tasmania that was both deep and intimate.”

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The enormity of these paintings can only be felt by viewing them in the flesh. Palette knife laden, light infused, incredible tracts of land – all expertly driven into a single stretched canvas – capture the raw power and majesty of our wild and wet wonderland many of us choose to call our home.

For further enquiries on artist Geoff Dyer call Vicki Finkelstein: +61 3 404 861 438. Images supplied by: Vicki Finkelstein.

 

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The Finkelstein Files: A Few of My Favourite Things!!!



In the last post for the year, 2017 has been a rollercoaster ride for many.

I for one, am looking forward to a complete summer break with my favourite little peeps, my twin 8 year old’s.

 It’s all about having fun and being in the moment, taking our time, and few plans except soaking up the much-needed sunshine and feeling the sand between our toes in between bouts of body surfing.

I’d like to take this opportunity to thank Thierry B Fine Art‘s valued clientele for their ongoing support throughout 2017.

We’d also like to thank our behind-the scenes-colleagues who logistically make it all possible to keep up the pace, as one of Australia’s busiest commercial art galleries.

Here are a few of my favourite things below!!!


 

As we countdown the last 6 days until we close the gallery for our break, our gallery hours include Monday – Saturday 11am – 5pm & Sunday 12pm – 5pm or by appointment. Re-opening the 15th January, if you are in town come by and check out our new stockroom full of beautiful paintings.

Have a happy holiday with your loved ones of near and far, and return next year in good health, ready for an even bigger and better 2018!!

Lots of love, Thierry & Vicki