Terri Brooks: November 2025

Windows

A studio release of eight hessian boxes

A Yarra Bend Gallery production

Each work was additionally placed on site outdoors adding visual context to the impetus behind the pieces.

Installation view

Catalogue

During the hanging of this collection I was reminded of one of my favourite buildings, Le Corbusier's Chapelle Notre-Dame du Haut at Ronchamp, France. Hence the collection title of 'Windows'.

All works are available for sale via my website: https://www.terri-brooks-artist.com/shop or email to terri.brooks.artist.1@gmail.com.

Selected works:

On the Field, 2022.

Check Stripe 2022, Fairweather's studio.

Painting during wartime, 2022.

White Grid Box, 2022, gesso on hessian, 36 x 34 x 27 cm.

White Striped Box, 2022, gesso on hessian, 26 x 26 x 18 cm.

White Grid Pattern, 2023, gesso on hessian, 22 x 14 x 9 cm.

Drawing the Line

Group exhibition

To December 24
Cross Gallery
Bundaberg
Insta: @crossgallerybundaberg

Celebrating 10 years of Cross Gallery.
Featuring artists who have had solo shows.

Installation images and works:

What Remains, Stripes, 2019, oil on paper 34 x 12 x 7 cm.

Basket, 2022, oil on paper, 29 x 29 x 12 cm.

Check Oval, 2022, oil on paper 27 x 20 x 5 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.