The Finkelstein Files: Beyond The Trees

If trees are carriers of symbolic possibilities, the exhibition Beyond the Trees is a powerful and poetic response to our emotive connections to our planet. Climate change, the environment and the preservation of diversity are ‘hot’ topics. The life sustaining essence of trees is explored deftly by Victor Majzner who eschews these living monuments ideals of endurance and longevity. Often emblematic of patience and wisdom, dozens of canvases stand like proud sentinels along the gallery walls of the light-drenched Langford 120 in North Melbourne.

vic-Looking into myself, after Felix N 2013 Acrylic on canvas 92 x 92 cm

Beyond the Woods sign-posts a sharp twist in the tale of this image-maker of ideas of the Divine. An innate colourist, Majzner’s narratives intrigue and are full of pathos. Screams at the world mingle with recurring  faces reiterating a human helplessness –  a search for salvation? Many questions are raised without resolution as the trees sit expectantly, quietly on the walls – contemplating and confronting. Looking Into Myself, after Felix N, 2013, Acrylic on canvas, 92 x 92 cm (above).

vic-Portal to memory, after Ezra K 2013 Acrylic on canvas 92 x 92 cm

Portal to Memory, After Ezra K, 2013, 92 x 92cm (above), reflects two strong entertwined trees in a puddle of water – brothers who are emotionally connected or lovers? The connection is powerful and strong, a reflection as a symbolic portal to a memory from the past. A thought bubble hovers offering comfort, that these two souls are still looking after each other.

Vic-2 Vic-1

Much of Majzners’ writings on his work are encapsulated in an insanely beautiful box-set featuring a complete catalogue of works and an additional visual diary filled with studio insights and authored offerings on his mid-career trajectory. Designed by the artist’s equally talented son, Andrew of Paper, Stone, Scissors fame, its clear the apple doesn’t fall far from the tree!

vic-Strange fruit 2013 Acrylic on canvas 92 x 92 cm

The above image lends its’ title from one of the most moving of Billie Holiday’s songs, Strange Fruit.  The gigantic tree, a universe of life has from time to time become the conduit for violence, racism and death. Sanctified by manmade laws and attitudes of power where the humanity of ‘the other’ has been degraded to a possession, only to be disposed of at the racist whim of the plantation master of the KKK gang in the American South up to the 60’s.

vic-Sky_night tree, after Alex S 2012 Acrylic on canvas 152 x 137 cm

Victor explains that Alex Skovron’s poem The Sky Tree was the starting inspiration for this painting, “Memories of fairy tales from my childhood, of dark forests where miraculous adventures took place were other inspirational sources. Out of darkness /’nothing’/chaos energy swarms into a vortex that eventually forms into branches of a tree, like lightening rods of light coming down to ‘earth’ with lights at each braces’ extremity, illuminating / suggesting a spiritual dimension as its source. Through the branches, at night can be seen small villages with their distinguished church spires. These villages are separated by dark forests and by meandering country roads and lanes illuminated by ‘golden’ lights – magic pervades.”

vic-st-4

The roots of tradition and story-telling are embedded firmly into Majzner’s earth and the longer you spend gazing around the collection, the tighter the grip becomes. As he shows me around ‘the cage’ studio (above) – two days after a first viewing, these images resonate still, in my minds’ eye. Each with a story to tell and a potential lesson to unfurl.

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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 $30,000 will be fully tax deductible under current ATO regulations.

So effectively, you could purchase 5 x paintings at $30,000 each & have something to show for $150,000 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

17795710_1199654590133758_8475268264116597575_n

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 : Living Treasure, John Olsen

Without further fanfare I’m excited to add my salute to the sun – an offering of appreciation to one of my all-time favourite luminary painters, master watercolourist, Sir John Olsen – one of our greatest living artists. In March last year, Olsen embarked on the second largest mural of his career. He was 85 years old. “What I am trying to do is to get the life of the sun, the energy of the sun, the intrusiveness of the sun. Without that form of energy there is no life.”

sun king-1

sun king-2

The 48 sqm painting King Sun was installed in the foyer of Tower 1 and is now visible from Collins St, Melbourne.

In The King Sun, director Tony Williams and producer Anna Hewgill follow the progress of John Olsen’s mural from the arrival of the 8 blank panels to the transportation, delivery and installation of the giant painting in the Collins Square development in Melbourne. The film is a record of a great Australian at work on possibly his final mural. It’s also an uplifting exploration of a life in art, and a reflection on mortality, optimism and happiness.

the_king_sun__john_olsen

The filmmakers take us inside Olsen’s Southern Highland home where Olsen opens up about the eastern philosophies and techniques that have guided his practice, and we hear from Olsen’s wife, son and daughter. John Olsen is in the autumn of his life and in The King Sun he reflects on what he was like as a younger man. We flash back to archival footage of John as a young, vigorous and driven artist working on Salute to Five Bells, and winning the Archibald. And we see how much he has mellowed with time.

Watch it here: http://iview.abc.net.au/programs/king-sun-john-olsen/AC1308H001S00

John Olsen, Kitchen Story, Mixed media on arches paper, 76 x 92cm, $55,000

A brief snapshot of a luminary life filled with much merit, Olsen’s painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) that are keyed to natural light. Even when he is referring to the outback landscape, usually noted for its austerity and inhospitality, Olsen’s imagery teems with life. Yet the same lines sometimes read as geological mappings.

In Olsen’s work there is no foreground/ middle ground/ background schema, nor any sign of European landscape’s concern with “human scale.” Instead he employs simultaneously the contrary vantages of naturalist and geographer or, to put it another way, the viewpoints of frog and eagle.

olsenp1

john olsen detail drawing

A Newcastle lad born in 1928, Olsen eshews the life of the hard-working, hard-winning artist. In 2001 Dr John Olsen was made an Officer in the Order of Australia (AO). In 1977 he was awarded the O.B.E. for services to the Arts and in 1993 he was awarded an Australian Creative Fellowship. He was also awarded the Wynne Prize in 1969 and 1985 amongst many other awards throughout his career.

See Olsen’s AUSiMED art work here

august 2015

 

The Finkelstein Files: Beyond The Woods

If trees are carriers of symbolic possibilities, the exhibition Beyond the Trees is a powerful and poetic response to our emotive connections to our planet. Climate change, the environment and the preservation of diversity are ‘hot’ topics. The life sustaining essence of trees is explored deftly by Victor Majzner who eschews these living monuments ideals of endurance and longevity. Often emblematic of patience and wisdom, dozens of canvases stand like proud sentinels along the gallery walls of the light-drenched Langford 120 in North Melbourne.

vic-Looking into myself, after Felix N 2013 Acrylic on canvas 92 x 92 cm

Beyond the Woods sign-posts a sharp twist in the tale of this image-maker of ideas of the Divine. An innate colourist, Majzner’s narratives intrigue and are full of pathos. Screams at the world mingle with recurring  faces reiterating a human helplessness –  a search for salvation? Many questions are raised without resolution as the trees sit expectantly, quietly on the walls – contemplating and confronting. Looking Into Myself, after Felix N, 2013, Acrylic on canvas, 92 x 92 cm (above).

vic-Portal to memory, after Ezra K 2013 Acrylic on canvas 92 x 92 cm

Portal to Memory, After Ezra K, 2013, 92 x 92cm (above), reflects two strong entertwined trees in a puddle of water – brothers who are emotionally connected or lovers? The connection is powerful and strong, a reflection as a symbolic portal to a memory from the past. A thought bubble hovers offering comfort, that these two souls are still looking after each other.

Vic-2 Vic-1

Much of Majzners’ writings on his work are encapsulated in an insanely beautiful box-set featuring a complete catalogue of works and an additional visual diary filled with studio insights and authored offerings on his mid-career trajectory. Designed by the artist’s equally talented son, Andrew of Paper, Stone, Scissors fame, its clear the apple doesn’t fall far from the tree!

vic-Strange fruit 2013 Acrylic on canvas 92 x 92 cm

The above image lends its’ title from one of the most moving of Billie Holiday’s songs, Strange Fruit.  The gigantic tree, a universe of life has from time to time become the conduit for violence, racism and death. Sanctified by manmade laws and attitudes of power where the humanity of ‘the other’ has been degraded to a possession, only to be disposed of at the racist whim of the plantation master of the KKK gang in the American South up to the 60’s.

vic-Sky_night tree, after Alex S 2012 Acrylic on canvas 152 x 137 cm

Victor explains that Alex Skovron’s poem The Sky Tree was the starting inspiration for this painting, “Memories of fairy tales from my childhood, of dark forests where miraculous adventures took place were other inspirational sources. Out of darkness /’nothing’/chaos energy swarms into a vortex that eventually forms into branches of a tree, like lightening rods of light coming down to ‘earth’ with lights at each braces’ extremity, illuminating / suggesting a spiritual dimension as its source. Through the branches, at night can be seen small villages with their distinguished church spires. These villages are separated by dark forests and by meandering country roads and lanes illuminated by ‘golden’ lights – magic pervades.”

vic-st-4

The roots of tradition and story-telling are embedded firmly into Majzner’s earth and the longer you spend gazing around the collection, the tighter the grip becomes. As he shows me around ‘the cage’ studio (above) – two days after a first viewing, these images resonate still, in my minds’ eye. Each with a story to tell and a potential lesson to unfurl.

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.”

Hamer-6

“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.

Hamer-3

“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.”

Hamer-4

Hamer-2

“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.”

Hamer-5

 

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

august 2015