Terri Brooks: Artbox

Invitation group exhibition
December 6-23
Opening Wednesday December 6, 6.30-8pm
Tacit Galleries, Melbourne
187 - L1/189 Johnston St, Collingwood

https://www.tacitart.com.au

'Precious objects desire special homes. Artbox is 40+ invited artists taking a functional object and transforming it into an art object that speaks to them and their practice. A desired object to be envied by all.

Made at Tacit, crafted and finished by hand, double primed matt black, these lidded boxes provide an opportunity to transform an object associated with the storage of the most precious of objects into its own precious object.

Paint the lid? All the external sides? All the external sides and the inside? Object(s) placed inside the box? All of the above?

Artists: Adriana Artmeier, Melanie Bardolia, Lillian Bateson,
TJ Bateson, Bruce Baycroft, Louise Blyton, Terri Brooks, Michelle Caithness/Clive Murray-White, Magda Cebokli, Elizabeth Colbert, David Coles, Lana De Jager, Merrian Dennis, Lesley Dickman, Merrin Eirth, Christine Gibbs, Paulo Gil, Janice Gobey, Jodi Heffernan, Ilona Jetmar, Sheridan Jones, Julie Keating, Vietta Korren-Steele, Kyle KM, Chris Lawry, Helen Lehmann, David McBurney, Paula McLoughlin, Anne Mestitz, Jan Palethorpe, Gaye Paterson, Cat Poljski, Linda Pickering, Shirley Ploog, Peter Rowe, Liz Sullivan, Brendon Taylor, Lena Torikov, Andrew Weatherill, Michael Wedd, Linda Weil⁠'

Contents, oil on paper on wooden box, 27 x 40 x 9 cm

Contents, angle view

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.