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: The Housemuseum

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The Housemuseum is the story of a partnership between collector and architect Corbett Lyon and his wife, Yueji Lyon, who began shaping their collection of Australian contemporary art over twenty six years ago. The collection was established with the intention of making works available for public viewing, and for research and education. The original Housemuseum is a unique combination of private residence and private museum where ‘museum’ and ‘living’ are brought together in a single building.

 
Above: Christopher Langton’s inflatable sculpture Swell, 2003, sits on a large circular plinth in the
centre of the southern garden concrete and can be viewed through the full height windows of the living room.

From modest beginnings in the late 1980’s , the Lyon Collection has grown to become one of the largest and most significant in the country, offering insights into Australian contemporary art practice from the early 1990’s  through the first two decades of the twenty first century. The Housemuseum was designed by Corbett Lyon, as both a family home and as a building which would allow works from the Collection to be displayed for public viewing. The Housemuseum represents a new an experimental architectural type – a hybrid of house and museum.

Today the Collection holds over 350 works from over 50 artists, representing one of the strongest collections of Australian contemporary art in the country. Following selected artists over the course of their evolving practices, the Collection includes works by internationally recognised Australian artists such as Brook Andrew, Howard Arkley, Patricia Piccinini, Callum Morton, Shaun Gladwell, Daniel von Sturmer and Daniel Crooks and represents many of the key moments and important shifts in Australian artistic practice and thinking.

Above (Right): Stephen Bram, Untitled, 2015, Acrylic on Linen, 278 x 210 cm.

At first glance, Stephen Bram‘s abstract paintings include forms of no recognisable shape splashed across the picture plane, bristling with jagged edges that run helter-skelter over a dark greyish underpainting.  These geometric blobs behave according to perspective and that they spell out the orthogonals of an architectural interior. The blobs at the bottom indicate a floor while the blobs at the top indicate a ceiling. Those to the side are walls. Each composition becomes a picture in spite of the initial appearance of random form. The flat forms with jagged edges behave according to perspective, introducing angles by means of their staggered outline. Their chaotic disposition is scaffolded onto a grid of two-point perspective, where twin vanishing points are situated out-of-frame to the left and the right. In the past, Bram used this rigorous system from the Renaissance to reconcile it with hard-edge abstraction. His works almost effortlessly married the Cartesian apparatus of space with the intellectual apparatus of its deconstruction in flat painting.

Above: Lyon also designed a hybrid pipe/digital organ for installation on the west wall of the music room.

This custom designed instrument combines ranks of real pipes with the digital recordings of actual pipe sounds from the great cathedral organs of Europe.

In the tradition of local collectors such as the Reeds and the Besens, who knew the artists they collected and set up museums for their art (Heide and Tarrawarra respectively), the Lyon family has followed its peer group. But the Lyon Housemuseum is different. The Lyons have opened their collection and home to the public. But the ”ultimate opportunity”, Lyon says, has been the ability to design the house as well, and create ”a new species of building. People have certain expectations on entering a public museum or walking through a large house,” says Lyon. ”We’ve shaken and stirred them, so they are more juxtaposed.” For Lyon, ”absurdly inserting museum spaces – white and black cubes – into a domestic interior, creates a powerful architectural experience”.

Above: Howard Arkley, Fabricated Rooms, 1997 -1999, Acrylic on Canvas, 17 panels, overall 203 x 1930cm.

Once the double-storey white cube is in the home, it’s attacked. Slicing through its white walls, the architects have inserted slot windows that allow views of more artworks, people in other rooms, and views outside the gallery. ”It’s about breaking free of the tyranny that the white cube brings with it,” says Lyon. ”It’s about involving you as the spectator in the whole spatial experience of the building. It’s the opposite of the typical museum where the effort is to cut you off from the outside in order to see the artwork in an almost sacred, timeless space – the temple or tomb where all great art goes to die,” says Lyon.

The building is also anchored by an artwork. Arkley’s massive 17-panel work Fabricated Rooms is on permanent display in the formal dining room above the white cube. Another marker is between the kitchen and the black box, a pipe organ Lyon designed (and plays) for concerts. Private rooms can be closed off as required. ”Shrink-wrapping” it is a huge zinc roof. ”The design strategy of hybridising those opposites – the house/museum, public/private architecture – finds its way into the form of the building,” says Lyon.

Above: Arts patron Yueji Lyon, warmly invites the public to view the the Housemuseum, home to her 20 & 22 year-old daughters, who both incidentally are studying architecture and live in ‘apartment’ pods upstairs.

”The gable-ended roof refers to a primitive form of a house, but it’s clad in black zinc that refers to the monumentality of public architecture.” One of the building’s greatest accomplishments in the public and private juxtaposition is the layering of words throughout the site. For instance, the corner property’s brick fence displays the Kew address in 2.5-metre-high brick letters: Cotham and Florence. Inside, across its ceilings, friends’ names, recipes and other personal notes are ”tattooed” into the timber, in shapes that spell out ”ART”. (see above) These are words and phrases collected cheekily by the four members of the Lyon family during the construction of the Housemuseum. They represent a form of family history at the time the building was completed. The texts include place names, significant people and events, biographical details, family recipes and other markers in the lives of the Housemuseum’s occupants.

Above: Christopher Langton, Cute (Doggy Style), 2011, PVC, polyester resin and acrylic, 198 x 91 x 60 cm approx.

Represented by Tolarno Galleries in Melbourne, Johannesburg-born sculptor, Christopher Langton is a pop sculptor and installation artist who creates plastic blow-up ‘toys’ of frightening proportions. Curator Mark Feary commented: ‘Langton’s work makes you feel good, but only sort of.’ Indeed there is something ominous about these sculptures despite their bright colours, smiling faces and fun media. They blend the playful naivety of Betty Boop and Astro Boy with the more knowing aesthetic palette of Roy Lichtenstein. Langton breathes plastic life into bobbing and bopping figures like a Geppeto gone mad!

Above: Brent Harris, Oceania, Oil on Linen, 179 x 279cm.

Brent Harris’ paintings and works on paper are brooding, dripping swamplands delineated in the most meticulous way.  Stark planes, often black and white, belie the swooping organic gestures and expressionist shapes. “Many of his forms vibrate, rise and fall, and cause the viewer’s eye much exercise in following them”, noted James Mollison in Art and Australia. But what surprises most is the sensuality of the work; as though the sharp lines and immaculate surfaces can barely contain the emotions brooding beneath.

painted on the base of his second Housemuseum of contemporary art in Kew. Photo: Josh Robenstone

It clearly is an expensive enterprise (”we don’t talk about how much”) and Lyon says the Housemuseum receives no funding or tax concessions. What’s the incentive? ”The really positive thing we get out of it is that people get the idea.They don’t feel like they’re coming to an institution. People say it’s changed the way they think about Melbourne. We wouldn’t do it if it didn’t have that kind of reaction.”

Designed around a two storey ‘white cube’ at the front of the building and a two storey ‘black cube’ at the rear, these act as anchors for the building and display paintings, sculpture, video work and installations. Family living areas flow around these two anchors, accommodating further artworks, architectural drawings and artefacts. Through this juxtaposition of art and living, the Housemuseum challenges conventional ideas of ‘public’ and ‘private’ and explores new relationships between art and the spaces in which it is viewed. Offering a new platform for works of contemporary art, architecture and design, the new Housemuseum galleries is a major expansion of the Lyon Housemuseum. Due to open mid 2018, the new galleries will provide a series of spaces for international and local exhibitions and events, where new ways of presenting and experiencing art will be explored.

And a hint as to why Lyon has just unveiled an Olympic swimming pool-sized artwork on the base of the yet-to-be built museum next door – painted blue, black, pink and mint green by Melbourne artist Reko Rennie – only to have it built over in a week’s time. Watch the minute-long time lapse video of Reko Rennie’s Visible Invisible, painted on the foundation of Corbett Lyon’s new Housemuseum in Kew.

Above: All images courtesy of John Gollings.

“As part of the announcement on Tuesday January 31 this year, a major new artwork, the size of an Olympic-sized swimming pool at 44 x 20 metres, was revealed. Australian contemporary artist Reko Rennie’s VISIBLE INVISIBLE (2017) spreads across the concrete base of the building, forming the foundation of the new galleries. Using 600 litres of Dulux paint to create, the artwork will be visible in its entirety for a short time, prior to being covered by the construction of the new museum. The artwork is visible from the street (as well as passing tram) for the coming weeks. A portion of the artwork will remain visible within the new museum, hinting at the colossal artwork lying hidden beneath.”

Reko Rennie explores his Aboriginal identity through contemporary media, provokes discussion surrounding Indigenous culture and identity in contemporary urban environments. Largely autobiographical, his commanding works combine the iconography of his Kamilaroi heritage with stylistic elements of graffiti. Merging traditional diamond-shaped designs, hand-drawn symbols and repetitive patterning, he works to subvert romantic ideologies of Aboriginal identity.

“Camouflage exploits the vulnerability of visual perception and its subjective relationship with meaning. It usually attempts to render the visible invisible by disorienting our eyes and employing the art of disguise. This work plays with layers of patterning, colour blending and contrasting areas of intensity and flatness in order to turn the tradition role of camouflage on its head. My use of camouflage aims to amplify, rather than conceal my identity, and to stake my claim to a luminous, commanding form of cultural visibility.”

Above: Emily Floyd, WORKSHOP (detail), 2012, steel, 2-part epoxy paint, ferrador, each letter approx. 150 x 150 x 40cm.

Set to be one of the largest dedicated contemporary art precincts in Melbourne, the new public art gallery will offer a new platform for works of contemporary art, architecture and design. Part of a major expansion of the Lyon Housemuseum and the result of a $14.5 million donation by the founding benefactors, the Lyon family, the gallery will provide a series of spaces for international and local exhibitions and events, where new ways of presenting and experiencing art will be explored.

Corbett Lyon commented, “We are very excited by plans for the new public gallery and its potential to foster experimentation, ideas and conversations across disciplines – between artists, architects, designers and the public to enrich and add to our city’s cultural life.” He continues, “… As we approach the opening of the new museum we are thinking widely in terms of ideas, exhibitions and events to add a rich dimension to the extraordinary cultural life we have here in Melbourne.”

The Finkelstein Files: Bonnes Vacances!

Thierry B Fine Art is open 11am – 5pm until Saturday 24th December! We have had a very busy few months welcoming clients into our new purpose-built gallery showroom in South Yarra. Now open across 7 days, our collection is accessible from 11am – 5pm or by appointment. As a note of gratitude to our loyal clientele, the gallery would like to extend an invitation to purchase paintings at a reduced price, to include custom framing, delivery and installation into your space for business of home.

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Michael Whitehead, Ever After, Synthetic Polymer Paint and Mixed Media on Linen, 80 x 270cm, Signed, Dated and Titled Verso.
fortitudePatricia Heaslip, Absinthe, Oil on Canvas, 137 x 137cm, Signed, Dated and Titled Verso.

 

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Thierry B, Tides Turning, Synthetic Polymer Paint On Italian Linen , 200 x 300 cm, Signed, Dated and Titled Verso.

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Patricia Heaslip, Diamond Soul, Oil on Canvas, 183 x 183cm, Signed, Dated and 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.
Foreground: Alan Annells, Kimberley Horizons Series, Cast silicon bronze and stainless steel, unique edition.

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Master painter, Thierry B. pictured in his Huntingdale studio.

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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 Fine Art Gallery interior featuring 200 x 300cm paintings by Thierry B.

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Thierry B, Grounded, Synthetic Polymer paint on Linen, 152 x 122cm, Signed and Dated Lower Right, Titled Verso.

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Thierry B, Relying On Each Other, Synthetic Polymer paint on Linen, 122 x 183cm, Signed and Dated Lower Right, Titled Verso

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Thierry B, Deep Ocean Horizon, Synthetic Polymer paint on Linen, 183 x 330cm, Signed and Dated Lower Right, Titled Verso.

Best wishes for a healthy and happy new year for all,

Vicki & Thierry xx

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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

appointment

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: Indigenous Instyle

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Lily Kelly Napangardi is a highly esteemed artist recognized for her contribution to contemporary aboriginal artwork. With a talent for intricate detail, Lily has captivated audiences with her interpretations of the shifting seasons and changing country.

Napangardi  was born around 1948, is a senior law woman of the Watiyawanu community, Haasts Bluff and is from Mount Liebig. Lily moved to Papunya in the 1960’s. She began painting in the 1980’s. Her ‘Tali -Sandhills’ paintings are finely constructed of a series of fine dots and dashes, their fasinating structure builds to a wonderfully detailed topography of her land. Lily Kelly Napangardi holds the authority over the “Women Dreaming ” story associated with Kunajarrayi. Lily’s paintings depict her country’s sandhills, the winds and the desert environment after rain, especially the sandhills near the Kintore area.In January 2006, Lily Kelly Napangardi was included as one of Australia’s 50 most collectable artists by the prestigious Australian Art Collector magazine.

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Lilly Kelly Napangardi was born at Haasts Bluff in the Northern Territory around 1948. She moved to the newly established settlement of Papunya in the 1960s. During her time in Papunya, Lilly engaged in painting activities, notably assisting with works by her husband Norman Kelly in the early 1980s. Lilly is one of the senior Law Women of the community, teaching the younger women traditional dancing and singing. Her language is Luritja. Lilly is a respected senior law woman of the community imparting knowledge of traditional songs and dancing to the younger generation.

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Lilly began painting in the early 1980s, winning the Northern Territory Art Award for Excellence in Aboriginal Painting in 1986. Lilly’s hypnotic ‘Sand Hills’ paintings are made up of fine dots and dashes, their muted tones building up a mysterious, hidden topography of her land.

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These paintings portray the depiction of the “Tali”, sand hills located near her homelands. The microscopic dots show the impact of the rain and the wind as it moves across the countryside. This story was passed to her by her father and the sand hills (Tali) are a site of significance for the artist and her family.

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Lilly is a highly collectable artist with a strong following: she is represented in major national and international collections.

Selected exhibitions:
1999 Desert Mob Show, Alice Springs
2000 Graham Marshall Gallery, Adelaide
2001 Desert Mob Show, Alice Springs;
2002 Desert Mob Show, Alice Springs.
2002 Telstra Awards;
2003 Telstra Awards
2003 Neil Murphy Indigenous Art showing at Mary Place Gallery, Sydney
2003 Graham Marshall Gallery, Adelaide;
2003 Telstra Awards; 2003 Neil Murphy Indigenous Art Span Galleries, Melbourne;
2003 Desert Mob Show, Alice Springs;
2004 Neil Murphy Indigenous Art showing at Span Galleries, Melbourne,
2004 Mary Place Gallery, Sydney
2004 Graham Marshall Gallery, Adelaide.

Awards:
Winner, 1986 Northern Territory Art Award
Winner, 2003 Telstra National Aboriginal & Torres Strait Islander Art Award

Collections:
National Gallery of Queensland Brisbane
The Kerry Stokes Collection, Australia;
National Gallery of Australia Canberra;
Art Gallery of New South Wales – Sydney;
Art Gallery of South Australia – Adelaide;
National Gallery of Victoria – Melbourne;
Holmes A Court Collection Perth;
Museum and Art Gallery of the Northern Territory Darwin;
Art bank Sydney;
The Kelton Foundation, Santa Monica, USA;
Thomas Vroom Collection, Amsterdam;
James Erskine Collection;
Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2003;
corporate and private collections around the world.

Thierry B Fine Art is excited to offer a new range into the gallery of Lilly’s work for both the discerning and burgeoning art collector.  Gallery hours are: Monday – Saturday 11am-5pm and Sunday 12-pm or by appointment on 0404 861 438.

Vicki xx

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The Finkelstein Files: The Art of Michelle Breton

Caravonesque,  Mixed Media on Italian Canvas, 183 x 183cm.

Michelle Breton’s ouevre relates to deep inward feelings rather than appealing to the intellect –  a visceral expression of motifs. Organic is form and matter, the works are resolved instinctively and intuitively. Filled with movement and chaos and control, Breton is a master of the abstract landscape.
“There comes a point in the painting when it reveals itself to me, and it’s at that moment I seem to know what it wants to be and what I need to do. Before that I’m it’s slave, making marks, throwing paint and even sometimes  eliminating everything,then taking stock of what has occurred and launching back in to it, allowing anything to happen. This process can take days, weeks or even months. We work together then it releases, I let go and voila! It’s a relationship that can be tumultuous at times, but it’s a dance that I never tire of, it is my joy and I couldn’t live without it, it’s my passion and my love.”
Thierry B has a strong relationship with artist Michelle Breton, showcasing her paintings for the past decade, both in High St, Prahran and now in the new purpose-built space at 473 Malvern Rd, South Yarra. We have just received a new collection of canvases into the stockroom which are available to view.

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Apres Midi D’uns Founa, Mixed Media on Italian Canvas, 152 x 137cm.

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Eclipse Telegraph 23, Mixed Media on Italian Canvas, 183 x 152cm.

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Octobre A Ceret, Mixed Media on Italian Canvas, 152 x 137cm.

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Presque Perdu, Mixed Media on Italian Canvas, 183 x 152cm.

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Coming Home, Mixed Media on Italian Canvas, 91 x 91cm.

Chant Du Midi, Mixed Media on Italian Canvas, 152 x 137cm.

 

The paintings are currently available at Thierry B Fine Art, 473 Malvern Rd, South Yarra.

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

Thierry B: 0413 675 466 or Vicki: 0404 861 438.

ENQUIRE NOW

Vicki xx

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Thierry B Fine Art: Ebb and Flow

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Diamond Soul, Oil on Canvas, 183 x 183cm.

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Aether, Oil on Canvas, 183 x 183cm.

I have been a long-time admirer of artist Patricia Heaslip. Actually a decade long love affair with her paintings have haunted me with their wistfulness and transcendental gentle waves. A master of the abstract landscape, Heaslip is based in North East Victoria – she lives on a property with neighbours abutting, barely within cooee. Happily at home amongst the native flora and fauna, Trish,  as she asks me to call her, runs a thriving studio practice.

“I met Thierry B over a decade ago, and immediately was drawn to his energy and intention both as an artist and gallery director – I’m grateful to have established a dynamic and transparent relationship, I call him a great friend. He is one of my constant reminders that detachment does indeed, equal flow”. Heaslip will only ever take her brush to canvas when she is has clarified her purpose in that moment and feels present. If painting is a form of mindfulness, then Heaslip has been an ardent and fastidious student.

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Fortitude, Oil on Canvas, 183 x 183cm.

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Walk In Silence, Oil on Canvas, 125 x 125cm.

This ebb and flow, is an expression which alludes to the inward and outward movement of ocean tides. A recurrent theme in her paintings, Heaslip is quick to reference nature as inspiration. “We are all matter and forms, ephemeral and yet timeless together. Nature is marvellous in all her fecundity – I harness that energy and reveal it in layers through the canvas. While painting, I experience thoughts, feelings, and sensations but never judge them.”

Her latest series graces the gallery like a blanket of love. One melon-coloured canvas is entitled “Jubilant” and absolutely exemplifies a happiness and triumph. A part of new Soul series, Heaslip experiments with undulating tone, while all the time flirting with the suggestion of depth of field. It’s a heady and seductive mix of mindful over mayhem. A taming of the soul.

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Monument, Oil on Canvas, 183 x 183cm.

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Ruby Soul, Oil on Canvas, 183 x 183cm.

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Jubilant, Oil on Canvas, 183 x 183cm.

Heaslip’s jewel-like offerings hold much resonance. Clear with intention, they convey much about its master painter. She brings to her practice a tranparency that alludes many artists. The painting size commands attention, as they stand to attention as sentient sentinals, happy with their pride of place on the gallery wall. Palettes of gradation invite the viewer to look always inward at the maelstorm beneath the calm exterior. Upon closer inspection, the canvases undulate , dance and shimmer with light and love.

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 Magnaminous, Oil on Canvas, 183 x 183cm.

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Landlines, Oil on Canvas, 183 x 183cm.

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The paintings are currently available at Thierry B Fine Art, 473 Malvern Rd, South Yarra. Gallery hours: Monday – Saturday 11am – 5pm, Sunday 12pm – 5pm or by appointment. Thierry B: 0413 675 466 or Vicki: 0404 861 438.

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