Flinders Lane Gallery

Flinders Lane Gallery Flinders Lane Gallery is a dynamic Melbourne art gallery, exhibiting exceptional and collectable art

Flinders Lane Gallery is a dynamic Melbourne art gallery, exhibiting exceptional and collectable artworks since 1989. Located in the heart of Melbourne’s vibrant Flinders Lane cultural precinct, FLG shows new solo exhibitions by represented artists every three weeks.

It's the final day of 'Entry Point' today. Come in to visit between 11am - 5pm to view the work of Effie Pryer, J Valenz...
04/06/2026

It's the final day of 'Entry Point' today. Come in to visit between 11am - 5pm to view the work of Effie Pryer, J Valenzuela Didi, Nazila Jahangir and Seabastion Toast. Each artist arrives at representation from a different direction: through absurdity and devotion, urban stillness, cross-cultural memory, or the rigorous testing of perception itself. Together, their practices map the breadth of what contemporary painting can hold when it keeps faith with the observed world.

Flinders Lane Gallery, Level 1, 37 Swanston Street, Melbourne.
https://www.flg.com.au/exhibition/entry-point

.jahangir

This new drawing by Kim Anderson, "Into Thin Air #2", has been selected as a finalist in the Grace Cossington Smith Awa...
04/06/2026

This new drawing by Kim Anderson, "Into Thin Air #2", has been selected as a finalist in the Grace Cossington Smith Award. We are delighted to be bringing Kim’s evocative and meticulous practice to present at this year's Sydney Contemporary in early September.

JOIN PREVIEW FOR KIM AT https://mailchi.mp/flg.com.au/andersonpreviewlist

Finalists and winners of The Abbotsleigh Grace Cossington Smith art award will be selected this year by esteemed judges Barry Keldoulis, Artbank Client Services Coordinator, and Anna Davis, curator at Museum of Contemporary Art, Sydney.

Exhibition of Finalists: Saturday 18 July to Saturday 15 August 2026
Opening and awards presentation: Wednesday 22 July 2026 6-8 pm

Artwork: ⁠J Valenzuela Didi | Monolith (Still Life) | 2026 | acrylic on canvas | 101 x 101cm The parenthetical in the t...
01/06/2026

Artwork: ⁠J Valenzuela Didi | Monolith (Still Life) | 2026 | acrylic on canvas | 101 x 101cm The parenthetical in the title is a declaration of intent. (Still Life) announces that what follows is not landscape in the conventional sense but something more deliberately composed: a subject removed from its function and its context, placed before the painter's eye as an object worthy of sustained contemplation in its own right.

The subject here is a railway viaduct seen from directly below, its deck cutting diagonally across the upper two-thirds of the square canvas, the underside of the bridge structure filling the frame with a geometry of beams, brackets and curves. The electrical infrastructure, catenary wires, insulators and poles, traces its own linear network across and alongside the concrete mass. A tree line sits dark at the lower right, the only element that reminds you there is a world beyond the bridge.

Showing now at FLG: Entry Point | 19 May – 5 June | Flinders Lane Gallery, Melbourne. Open 11am - 5pm Tuesday to Saturday

Online now https://www.flg.com.au/exhibition/entry-point LINK IN BIO⁠

⁠J Valenzuela Didi | Monolith (Still Life) | 2026 | acrylic on canvas | 101 x 101cm

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Artwork by Seabastion Toast | Rhodopis | 2026 | oil on canvas, framed | 121 x 91cmRhodopis is the name given to one of t...
29/05/2026

Artwork by Seabastion Toast | Rhodopis | 2026 | oil on canvas, framed | 121 x 91cm

Rhodopis is the name given to one of the earliest recorded Cinderella figures, a Greek slave in ancient Egypt whose sandal was carried off by an eagle and delivered to the pharaoh, who traced her by the shoe and made her his queen. The story is about transformation through an unlikely set of circumstances, and about the way beauty and fate become entangled in the telling.

Toast takes the name and gives it to a pale horse standing in a lily pond, its reflection broken by the flowers crowding the water around its legs. Behind it, the dark mass of cypress trees and the ornate caps of garden posts suggest a formal European setting: somewhere old, cultivated, layered with history. The horse itself is painted with a loose, searching brushstroke that captures the animal's mass and luminosity without fixing it entirely, as though it might dissolve back into the paint at any moment.

This is Toast working at her most expansive. The painting commands the room it occupies, and it needs that scale for what it is attempting: the proposition that the beautiful and the strange can inhabit the same image without one cancelling the other. The horse is entirely real and utterly improbable. The setting is specific and dreamlike at once. The painting holds all of it, deliberately, in careful and unapologetic tension.

‘Entry Point’ on until Friday 5 June at Flinders Lane Gallery. Online now https://www.flg.com.au/exhibition/entry-point

There is a myth that runs through life, and through art history, that resilience is a solitary act. That the figure who ...
27/05/2026

There is a myth that runs through life, and through art history, that resilience is a solitary act. That the figure who endures does so alone, jaw set, standing apart from the crowd.

Kathrin Longhurst's fifth solo exhibition with Flinders Lane Gallery deftly dismantles that myth.

'My Hand in Yours' starts 9 June, and it arrives as a significant moment in Longhurst's practice. An Archibald and Portia Geach finalist whose work has drawn serious critical attention, she has spent years in dialogue with the great tradition of war painting: Lambert and Leist at the Australian War Memorial, Sargent's 'Gassed', the propaganda aesthetics of Kollwitz, Barlach, and Dix. She knows this visual language intimately, and in this body of work she has chosen to rebuild it from within.

The male protagonists of that tradition are replaced by women. The heroic solitary figure gives way to pairs and trios who carry each other, hold each other, rest in each other's arms. Against backgrounds drawn from the graphic vocabulary of socialist realism, red flags, factory smoke, monumental architecture, the central canvases are luminous with intimacy.

For collectors, this is a body of work that sits in conversation with art history while speaking directly to the present.

Kathrin is one of the most generous figures in Australian contemporary art, known for the warmth and consistency of her support for women artists, migrants, and young people finding their way. She will be speaking at the opening, and that conversation is always worth being in the room for.

If you are a woman looking to connect with like-minded people, or a supportive man who wants to be in that company, consider this a personal invitation. The opening party is Saturday 13 June, 3.30pm at Flinders Lane Gallery. Come as you are. RSVP to [email protected]

EXHIBITION ONLINE NOW
🔗 https://www.flg.com.au/exhibition/my-hand-yours

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Congratulations to Gina Kalabishis who sold another of her atmospheric paintings at the recent Omnia Prize. There are on...
27/05/2026

Congratulations to Gina Kalabishis who sold another of her atmospheric paintings at the recent Omnia Prize. There are only three remaining works from this series available from the stockroom: The Lost Kila, Lost Paths and the Silence of Birds and The Great Egret. 'Her work explores the tension between personal longing and collective responsibility. The birds she depicts in her paintings are not solely ornamental; they exhibit signs of distress, displacement, and vulnerability. Their habitats—once vibrant forests, bushlands, and woodlands—are rendered in desaturated tones, echoing the fading memory of what once was.'
Excerpt of essay by Tim Dolby, 2025
https://www.flg.com.au/artist/gina-kalabishis/contemporary

The myth of Pandora is one of the oldest stories about curiosity and its consequences: the jar opened, the contents rele...
25/05/2026

The myth of Pandora is one of the oldest stories about curiosity and its consequences: the jar opened, the contents released, hope remaining at the bottom. Seabastion Toast takes the name and builds around it an image that holds the myth at a careful distance while allowing it to hover at the edges of what you see.

A figure reclines across a deep red sofa in a room that opens, at the back, onto a luminous interior filled with the suggestion of objects: shelves, vessels, the warm haze of accumulated things. A cat sits on the shelf behind her; the sculpted head of a figure appears on the right. She reads, legs raised, entirely at ease in a space that is also, unmistakably, a kind of interior world made visible.

The painting's palette moves between the warm reds and pinks of the foreground and the cooler, more atmospheric tones of the space beyond, as though the room itself opens onto something larger and less defined.

Toast treats figure, object and ground with equal structural weight, and 'Pandora' demonstrates what that principle looks like when given full room to unfold. Every element earns its place. The curiosity that drives the figure is the same quality the painting asks of the viewer: to look carefully, and to see what is released by that looking.

‘Entry Point’ on from Tuesday 19 May to Friday 5 June at Flinders Lane Gallery. Online now https://www.flg.com.au/exhibition/entry-point
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Pandora 2026
oil on canvas, framed
76cm x 91cm

'Homeward Bound' by J Valenzuela Didi gives you a tramline seen from below and at close quarters, sweeping in a long cur...
24/05/2026

'Homeward Bound' by J Valenzuela Didi gives you a tramline seen from below and at close quarters, sweeping in a long curve from the left edge of the picture and receding into the lower right. Overhead wires branch from a single pole into an elegant network of lines against the cool grey sky.

The title carries its own weight. Every journey this infrastructure has facilitated, every commuter for whom this particular configuration marks the approach to somewhere familiar, is held within those two words.

Showing now at FLG: Entry Point | 19 May – 5 June | Flinders Lane Gallery, Melbourne. Open 11am - 5pm Tuesday to Saturday

Online now https://www.flg.com.au/exhibition/entry-point LINK IN BIO⁠

⁠J Valenzuela Didi | Homeward Bound | 2026 | acrylic on ply panel | 30.5 x 30cm
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There is a long tradition in Western painting of the tondo: the circular format borrowed from devotional art, from Renai...
24/05/2026

There is a long tradition in Western painting of the tondo: the circular format borrowed from devotional art, from Renaissance Madonnas and medal portraits, from objects made to be held and contemplated with particular care. In this oil on panel, 'Shark Week', Effie Pryer uses it for a figure buried under an avalanche of pillows and quilts, one eye just visible above the white dune of a duvet, a single red-socked leg escaping at the lower right. The Tasmanian timber panel surrounding the circle is as much a part of the image as the painting itself: warm-grained, serious, completely straight-faced about what it is presenting.

'Shark Week', as Pryer notes, is the Discovery Channel's annual programming event and, for some, a personal euphemism for menstruation. The painting holds both meanings with perfect equanimity, granting equal solemnity to the desire to remain horizontal during a week of frightening television and the rather more biological imperative to remain horizontal regardless. The red sock, strategically placed, is Pryer's characteristic mode of wit.

The gap between the grandeur & skill of the painting and the modesty of the subject is exactly where Pryer works. She does not condescend to the small dramas of life. She illuminates them.

Entry Point | 19 May – 5 June | Flinders Lane Gallery, Melbourne. ⁠
Online now https://www.flg.com.au/exhibition/entry-point

Effie Pryer | Shark Week | 2026 | oil on panel | 18.6 x 18.6cm | SOLD

Address

Flinders Lane Gallery, Level 1, The Nicholas Building 37 Swanston St
Melbourne, VIC
3000

Telephone

+61396543332

Website

https://linktr.ee/flinderslanegallery

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