The Finkelstein Files: The Art of the Sell

Abstract Expressionist painter, Thierry B, in his Huntingdale studio, Summer 2018.

Thierry B, Everlast, 2018, Synthetic Polymer Paint on Linen, 122 x 91.5cm, P.O.A

Thierry B, Embers Alight, 2018, Synthetic Polymer Paint on Linen, 122 x 91.5cm, P.O.A

Welcome to 2018 – the year of expansion always, in all ways! If 2017, was all about completing cycles – then 2018 is all about starting afresh from a position of strength. Passion, hard work, commitment and an obvious love for what we do best – makes us one of the busiest commercial art galleries in Melbourne, if not Australia.

With the news that stalwart, and second generation dealer, Rob Gould has finally closed shop mid December 2017, leaving many artists in freefall. With disenfranchised vendors & creditors owed substantial amounts of money by Mossgreen auction houses, who is left no longer in the red??? Countless galleries have closed their doors –  leaving artists wondering if this is the final death knell of the gallery model which has existed for so many decades.

We are proud to report that our gallery continues to flourish and grow incrementally every quarter. We measure our success with sales, particularly repeat sales – where our customers trust us to assist them in the process of connecting and acquiring new works for their growing collections. The middle market is far from dead, or sluggish – ask us how many paintings we have sold in the past 2 weeks since we re-opened and we will need both hands! Testament to our success is these repeat clients who are more than happy to refer their family and closest friends ÷to a service which remains unrivalled by any other gallery in town.

Thierry B, Euphoria Series – Blanc, 2018, Synthetic Polymer Paint on Canvas, 152 x 122cm, P.O.A

Thierry B’s loyal clientele, return with new briefs for their home, work & holiday spaces – ready to once again experience the Thierry B effect he is famous for. If you have yet to have Thierry B wave his magic in your direction, I suggest you take his complimentary consultation to have him review and recommend what will work well for your space.

Scoping a space provides the client with invaluable information from an expert eye which will inform and impact your space – acting as an anchor. Many clients make the mistake of erring on the side of caution, often selecting a painting which is too small to create the wow factor they are looking for. His turn-key solution includes custom framing, delivery and installation to exhibit your newly acquired painting in its best possible light.

Gifting a frame for the art work is our way of expressing our gratitude for giving us your business – with the painting installed and professionally finished, in its pride of place. Communication is a key element in the success of Thierry B Fine Art. It is tantamount that the client establishes and defines resonance with a painting from the get-go. Intuition is encouraged in the process – as the ‘love at first sight’ connection often rings true!


Thierry B, Mink, 2017, 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.” – Abstract Expressionist painter, Thierry B.


Thierry B, Relying on Each Other, 2017, Synthetic Polymer Paint on Linen, 122 x 183cm, P.O.A

Thierry B, Summer Escape, 2018, Synthetic Polymer Paint on Linen, 152 x 122cm, P.O.A

Thierry B, Etheric Exposure, 2018, Synthetic Polymer Paint on Linen, 152 x 122cm, P.O.A


I am eternally an optimist as is Thierry B – how many Abstract painters can confidently say, their oeuvre encompasses 17 different styles available to his clientele?! So much of his abstract 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 may 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.

Thierry B Fine Art website offers a stockroom to view, interiorpages with the paintings installed into their new homes, 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 & open Monday – Saturday 11am – 5pm & Sunday 12pm – 5pm or by appointment.

Vicki xx


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

The Finkelstein Files: Thresholds of Perception

Melbournian artist Camille Hannah wants to challenge you. She wants to make you wonder about the contrasts between painting, photography and sculpture, and blur the lines between tradition and modernity. Hannah works on perspex, painting luscious strokes of oils onto the back of convex domed circles, using handmade brushes – a skill she picked up during an artist residency in China. Her palettes are moody and sumptuous, the rich colours reminiscent of a Caravaggio.


Hannah’s works are 3-dimensional and painted on convex supports. As a material object they embody a spatiality that also challenges the distinction between painting and photography, painting and sculpture. As with her previous work, scale probes the limits of the visible with baroque play and the viewer must penetrate a space that represents the body- a foreign body – in order to see the image within.


If painting circular pictures is problematic, spare a thought for artists who attempt to also paint on convex glass or perspex. It’s a punishingly tricky prospect, and so it’s doubly amazing that  oil on convex Perspex abstracts – manages to pull it off. In essence, Hannah’s final paintings are evidence of the reverse of her process, the gestural paint strokes, details and other ‘foreground’ features are the first laid down, while the backgrounds and other effects are the last.


Her works aim to address the viewer at the threshold of vision and touch. As seeing relies on a plurality of sense organs, there is a visual correlation that compels perception to fleetingly pass through the sense of touch. This discrepancy between visual and tactile perception becomes a frontier area of sensation. There is a bodily presence in a wavering relation of moving outward and drawing back, identification and distancing. By inciting the viewer to move – the visual field of the works aim to be the space that envelops the viewer.


Where space comes forward: the threshold of two and three dimensional representation of the flat image and the image-in-space and the concomitant compulsion to incorporate becomes an easily – crossed threshold of perception – an opening toward a dialectic between the interior and exterior, and the centre and its edges. These paintings are labyrinthine: the folds and curves aim to engage the body at the threshold of seduction and recoil, an interactivity that can never be construed on the basis of stillness. In this respect they strive to hold the viewer in a temporality by way of a ‘spatial stickiness’.


Michel Lawrence from Inside Art interviews Camille Hannah about her work and practice here

See Camille’s AUSiMED artwork here.

august 2015

The Finkelstein Files: Where The Infinite Dwells


When you have this dapper man greeting you at the door for a preview for national exhibition about to unfurl, you just know you are in for a ride of a night! Mo, is painter Kate Elsey’s partner in the truest sense of the word.

Accompanying Elsey on most of her artiness trips made for plein air studies of the Australian bush which are emblazon the walls in Melbourne’s No Vacancy concrete vault are a perfect foil for her work.


Banksia Mountain reveals a monolithic tribute to Mother nature in all her fickle fecundity. Flora and fauna vie for position with scraped back, paint-laden palette knifed canvases. The effect of is dizzying and deifying in person. (Please pardon my iPhone snaps, but this event was way too cool for my DSLR).


Continents blistering from fire and deluged by storm, the isolation and sheer scale of the works convey biodiversity, with delicate and unusual flowers attached to unbelievable, gnarly, weathered forms and creatures.

The Stirling Ranges are home to Banksia Mountain, in the south-west of Australia where the magnitude and diversity of species makes it one of the most important, fragile and formidable places on earth.


Where the Infinite Dwells, is an apt name for the above work, which blankets the wall effortlessly. The scale of the works are a challenge to be surmounted by the feisty Elsey, who is no stranger to employing courage and tenacity to her canvases.

Lucky to be treated to an entire space dotted with Elsey’s – the works leave today to go West for a solo exhibition with successful gallery, Linton & Kay, based in St.Georges Terrace in Perth. proud patrons and long-standing clients pepper the audience in a show of appreciation for her maturation as an artist who is fast approaching a new pinnacle.



As they say, the early bird catches the worm! For sales enquiries contact

TFF xx

august 2015

The Finkelstein Files: Kinda Blue



Antipodean arty followers may well be aware and acknowledge it was recently Mental Health Week in Australia. As an advocate of everything visual, art as a form of expression may be felt on so many levels. Either as an artisan, admirer or art collector, if the works moves you, it has done its job.

An old-fashioned gal at heart, I am drawn toward the time honoured tradition of painting and sculpture seen below. Many creatives struggle to balance their equilibrium, often working best in cycles of production, sometimes prolifically, often painstakingly. Through creative processes people express their unique experiences for which sometimes there are no words. Although, the artists’ eye always belies the truth – what would I have done differently?

RYAN States of Grace no16

Kathryn Ryan,States of Grace, 2012 Oil on Linen, 82 x 61cm

“Winter landscapes of South West Victoria, misty and foggy, rain soaked paddocks, cows sheltering under cypress hedges planted as windbreaks. Weather beaten old pines and newly planted cypress trees, undulating paddocks opening up to vast skies and views to the horizon. An evocative, subdued and quiet landscape. The light breaking through clouds, and the glow of a fading evening light, the rise of light in to the day, the last light before nightfall… Light paints the landscape for me… the differing mood and contemplative mystery enhanced by the changing light” – Artist Kathryn Ryan.

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Michael Peck, Passage, 2014, Oil on birch, 100 x 100 cm

Recent Suliman prize finalist, painter Michael Peck participates in a project of world making, creating spaces so intimate that the viewer cannot help but to feel as if they have stumbled upon a scene not meant for their eyes. His works embody a photographic stillness suggesting a caught moment in the midst of flurried action. There is a calm that belies the activity within, birds’ wings and flowing creeks all temporarily stilled.


Petrina Hicks, The Hand That Feeds, 2013, Diptych (Part 1 & Part 2), Pigment print, Edition of 8

With extensive awards and grants for her large-scale, hyper-real photographs and video works, Hicks’ prints are as beautiful as they are unsettling. Her slick, stylized images at once entice and disconcert the viewer. At first glance her luminous works draw you in, much like the sensuous advertising imagery they reference and co-opt. Yet look closer and subtle ruptures and ambiguities surface, unsettling the promise of perfection embedded in each image. In so doing, Hicks weighs in on photograph’s dual role as both truth-teller and perpetrator of fictions.


Alyssa Black, 2014, oil on board, P.O.A

ormandy olsen

Stephen Ormandy and Louise Olsen of Dinosaur Designs, Loop, 2014, Resin, 89.0 x 94.0 x 2.5 cm

‘The exhibition is a fusion of art, design and fashion’ explains Stephen of this body of work, which marks new territory for Dinosaur Designs.  ‘For this show, we’ve created large sculptural pieces that reference our wearable collections and reinforce the textural and artful aesthetic in our work’ Stephen continues. ‘This exhibition has given us the opportunity to present our pieces in a gallery context, and has given us the freedom to play with scale and emphasise the relationship between form and colour of our pieces” – Artist Stephen Ormandy.

Daniel Mahon

Eolo Paul Bottaro, 2011, The Thinker, Oil on linen on board, dia,  SOLD.

Phillip Stokes Aqua Streaming Trio. Was $1980 Now $1380 560mm (H) x 260mm (W) x 200 (D)

Phillip Stokes, Streaming III, 2014, Hot Glass Size: Various. Commissioned works: P.O.A.

Stimulated by the sculptural possibilities of human form and the organisation of musculature, Philip creates dialogue between the viscous and sinuous qualities of the glass medium. The Streaming Series explores the dynamic fluid and continuous movement of life. Stokes’ latest works are playful groupings excited by fire and inspired by the dance and rhythms of life which are captured in the moment and remain in the colours and contours of the glass forever.


Alexander McKenzie, The Precedent, 2014, Oil on Linen, 71 x 91cm  SOLD

“This work continues my exploration of an implied narrative taking place within a landscape. The suggested journey and choices of direction in each of these paintings reflect the decisions – both temporal and spiritual – that all of us must make in our lives” – Artist Alexander McKenzie.

See what people think. Many of us get lost in words. The art is to me an immediate and intimate description of a moment.
It is a pure expression of a complex range of emotions. The ability to communicate has also the potential to heal and further understand the depth of our human condition. Kinda blue? Kinda good!

TFF xx

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art classes