Terri Brooks: Houzz

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Houzz.com

Hall Gallery

Kitchen Shutters with a painting by Peter Liiri.

'Brooks wrote The History Of Making Do for her PhD at university, and the influence of this philosophy is apparent in her decorating style – minimal and natural finishes, self-made artworks, heirlooms and relics are displayed throughout her house.'

Louise Lakier, A Worker's Cottage Embraces History and Efficiency

In August journalist Louise Lakier visited my home studio.
The article about my house can be read on line here

Houzz Australia and New Zealand

Louise Lakier, Creatives at home: Dr Terri Brooks in her backyard shed, Houzz Australia, September 30, 2016.

In August journalist Louise Lakier visited my home studio. The article can be read on line here

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Terri Brooks Website↓

Since 1989 Terri Brooks has held over twenty 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.