Terri Brooks: ABORA 4

ABORA 4

4th Australian Biennale of Reductive Arts
6–28 September 2025
Articulate project space
497 Parramatta Rd, Leichhardt NSW
Friday–Sunday, 11am–5pm
Saturday 6 September, 3–5pm

https://www.articulateprojectspace.org/

Curator: Beata Geyer

Artists: Aaron Martin, Angharad Evans, Annelies Jahn, Anya Pesce, Beata Geyer, Belinda Yee, Billy Gruner, Brent Hallard, Chantal Grech, Chris Packer, Christine Dean, Cornelis Timmer, Deb Covell, Don Voisine, Elizabeth Day, Elizabeth Rankin, Elke Wohlfahrt, Gary Warner and Audrey Warner, Giles Ryder, Helen Shields, Isobel Johnston, Jamie Jude Smith, Jan Handel, Kate Galea, Kate Mackay, Kath O'Donnell, Kendal Heyes, Kyle Jenkins, Laurence Kimmel, Lisa Jones, Lisa Pang, Liz Shreeve, Louise Blyton, Louise Owen, Louise P Sloane, Luna Gui, Lynne Eastaway, Margaret Roberts, Mark Titmarsh, Marlene Sarroff, Merryn Trevethan, Neerja Chandna Peters, Nicole Ellis, Penny Coss, Peter de Lorenzo, Phong Le, Pia Larsen, PJ Hickman, Pollyxenia Joannou, Raymond Carter, Rolande Souliere, Sandra Curry, Sarah Fitzgerald, Sarah Keighery, Sarah Robson, Shelley Jardine, Sue Callanan, Susan Andrews, Suzan Shutan, Tarn McLean, Terri Brooks, Tilman, Tom Loveday, Yvette Hamilton

Terri Brooks, Horizontal Vertical, 2024,
oil on paper on canvas, 45 x 35 x 7 cm.

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.