Terri Brooks: October 2018

Earth / Bound

A Cross gallery presentation Gladstone.
15th October - 15th November
Crow Street Creative / Photopia.
Opening 9th November

Diane Scott ( New Zealand )
Beverly Rautenberg ( Chicago USA )
Terri Brooks ( Melbourne)
Lorna Crane ( NSW )
Michael Cusack ( Byron Bay)
Steffen Schiemann (Germany)
Anthony Cahill ( Sydney )
Deb Covell ( UK )
Marlene Sarroff ( Sydney)
Rhonda Baum ( Melbourne )
and many more.

Installation view

Of Colour and Light

Biennial of Victoria’s Women Abstract Artists

curated by Anna Prifti
5 – 27 October 2018
West End Art Space
185 Rosslyn Street, West Melbourne, Victoria, 3003, Australia

Hours: Wednesday - Friday: 11am - 4pm; Saturday: 10am - 3pm
Opening: 6 October 2-5pm
Opening Address: Kate Nodrum at 3 pm from Charles Nodrum Gallery

Artists: SAMARA ADAMSON-PINCZEWSKI, LOUISE BLYTON, ELIZABETH BODEY, TERRI BROOKS, ANNA CAIONE, MAGDA CEBOKLI, TRACEY COUTTS, ROZ ESPLIN, JENNIFER GOODMAN, FIONA HALSE, MELINDA HARPER, ELEANOR HART, SHELLEY JARDINE, WENDY KELLY, ROBIN KINGSTON, REBECCA MONAGHAN, SUZANNE MOSS, CATHY MUHLING, VANESSA OTER, FRAN O'NEILL, LINDY PATTERSON, LINDA PICKERING, WILMA TABACCO.

Installation view

with Louise Blyton

Boundaries, 2017, oil, enamel and pencil on canvas, 109 x 91 cm

Since 1989 Terri Brooks has held over thirty solo shows in Australia, New Zealand, Italy and the Netherlands as well as participating in numerous exhibitions including art fairs in the US, UK, Germany, Italy, the Netherlands, Greece, Poland and Hong Kong. Her work is in the Neubrandenburg Museum Collection, Germany, The Macquarie Group Collection, Westpac Bank, many other corporate and private collections around the world. For over ten years her work has been been incorporated into projects by leading interior designers and architects for exclusive and award winning interiors. In 2018 she completed two major commissions for the Westin, Perth and Sheraton Four Points, Sydney.

Line and Weight

'In her seminal 1979 essay ‘Grids’, Rosalind Krauss writes that ‘logically speaking, the grid extends, in all directions, to infinity’. The grid within an artwork is therefore ‘a tiny piece arbitrarily cropped from an infinitely larger fabric’. The paintings in Line and Weight convey both this sense of the infinite spatial grid and, through the building up of layers, the infinite and repetitious nature of time. Washed over, painted across, re-written, line by line.' Anna Dunhill 2019.

Over the Edge

`The neglected zones of urban existence – alley ways, awnings, walls, gutters and shutters – occupy a unique place within the history of painting. Perhaps inadvertently, artists have been depicting such insignificant elements as cracked window ledges or the dark recesses of architraves since the time of Giotto. Ubiquitous, utilitarian and often worn down, the marginal nature of such sites and the phenomenological questions they raise has dominated Terri Brooks practice for the past two decades and continues to inform her work today.' Phe Luxford, 2011.