Terri Brooks: Wyndham Art Prize 2015

May 14 - June 28

Wyndham Art Gallery

Wyndham Cultural Centre
177 Watton St, Werribee

Wyndham Cultural Centre Website

Mock Abstraction, 2015, oil and enamel on constructed paper, 59 x 51 x 10 cm

Block Crinkle, 2015, oil and enamel on constructed paper, 58 x 50 x 12 cm

Artist statement about the work

The borderlines between painting, drawing and sculpture and ‘meaning’ embedded in process comprise my practice. These works constructed with everyday newsprint are informed by my grandparent’s stories of using ‘materials at hand’ during the Great Depression. The work is expressive, preferring looseness to control and reference my response, attachment to, and memory of objects. Mock Abstraction, 2015, takes its form from abstract painting, but due to the uncontrollable nature of the media it appears ‘not quite right’ – a comment about Painting. Block Crinkle, 2015, similarly takes its form from an abandoned deflated soccer ball I found – no longer useful.

Shots from the opening last night....

With gallery curator, Megan Evans

Block Crinkle (top) and Mock Abstraction, 2015.

With Janice Murray and her work

After speeches performance

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.