The concept & our relationship with the artists

Not only are we interested in the formal aesthetic of artworks but what makes us different is that the enterprise is extremely personal when it comes to knowing its chosen artists.


Academically trained in the multidisciplinary study of the Art History, Newns Fein’s interests and multifaceted ardours as a private collector extend to her excitement for the promotion and sale of artworks by which she is stirred. Therefore, FEIN Collections strays from the formulaic familiarity of the typical art gallery institution. Popularly referred to as ‘white cube’ galleries, these institutions are often difficult to navigate and provide minimal information regarding the significance of the ‘inventory.’ Therefore, a preponderance of high art-sales organisations – high art galleries – are [highly] impersonal.

While FEIN Collections is, of course, interested in the formal aesthetic of artworks, the enterprise is extremely personal when it comes to knowing its chosen artists. Each artist is carefully chosen by Newns Fein. Important is the individual artist’s immersive creative process, inclusive of the stimulus inducing the creation of a work.

FEIN Collections finds enthralling those catalysts that advance artists’ compulsions to create their work.

As an art historian and writer, the discovery of a work’s significance in time and space Newns Fein discovers through carefully-considered personal analyses of the contextual, within and beyond the art historical academic sphere; this informs and inspires her ability to verbally express the significance of an artwork's multi-dimensionality. Hence, held ever-so-precious are the introspections gained from an artist’s own vocalisations regarding a personal necessity to create.

Inherent to FEIN Collections’ philosophy is a personal devotion to artists for whose works Newns Fein possesses interminable passion.


The artists whose work FEIN Collections represents include artists whose works with which she has been so entranced by and engrossed with that Newns Fein has felt compelled to become more than solely familiar with the artists’ bodies of work:

It is with zeal that I enjoy forming relationships with the artists themselves. This has allowed me to gain an enhanced and comprehensive perspective regarding the catalysts and influences [environmental, historical, philosophical, political, and beyond…] – the amalgam which results in the manifestations of their work and processes. To attain knowledge of the artists’ histories as creators, their mediums and as much as about their artistic processes as possible is a necessity in order to sell works as well as to publicise the individual artists themselves, their works' magnitude and societal significance - to expose them to different art world tiers forcefully and with delight. To create interest in their mediums and artistic progressions requires time and effort and I have made and will continue to invest in their success.