March 4 - 15
Rose Moxham, John Hockings and Terri Brooks
Opening Friday 6th March 6pm
Through March
Cross Gallery
Bundaberg QLD
https://www.cross-gallery1.com/
Through March
Cross Gallery
Bundaberg QLD
https://www.cross-gallery1.com/
Rose Moxham |
John Hockings |
Terri Brooks |
A6 Murals Worldwide
A project by Lydia Wierenga's (Netherlands)
Mural No. 18
January 30, 2020
Melbourne, Australia
www.terri-brooks-artist.com
Each artist has a set of instructions to create the mural and document it.
Mural No. 18
January 30, 2020
Melbourne, Australia
www.terri-brooks-artist.com
Each artist has a set of instructions to create the mural and document it.
Anke Roder, 'Lydia Wierenga, A6 Murals Worldwide', Terri Brooks, Lydia Wierenga NL, p. 18.
Image_Object
curated by Paul Snell
Opening January 16
Poimena Gallery
Mona Foma 2020
Launceston
Tasmania
Opening January 16
Poimena Gallery
Mona Foma 2020
Launceston
Tasmania
High-rise, 2019, oil on paper, 27 x 18 x 21 cm. |
Installation image |
Art Lounge International
I have some paper works available through Art Lounge International. Based in Ohio the site specialises in reductive and new modern works.
What Remains, White, 2019, oil on paper, 24 x 22 x 15 cm. Angle view |
Beige White, 2019, oil on card, 48 x 35 cm. |
What Remains, Striped, 2019, oil on paper, 34 x 12 x 7 cm. Angle view |
30x30
Flinders Lane Gallery
To December 21
Level 1, Nicholas Building
Swanston Street
Melbourne
FLG has been exhibiting contemporary and Indigenous artworks for 30 years, supporting a diverse range of practices by some of Australia's leading artists.
Cemented within Melbourne's vibrant art scene, this year has been a particularly important one - with the gallery relocating from its original site and onto level one of the Nicholas Building, a thriving creative precinct on the corner of Flinders Lane and Swanston Street.
To celebrate this anniversary milestone, we have invited our represented artists to create an artwork that is 30 x 30 - either cms or inches. Each artwork is indicative of the artist's practice and inspired by Melbourne, showcasing the varied yet strong creative talents of the artists of FLG.
Puff, 2019, oil on paper, 32 x 31 x 14 cm. |
Artist statement:
'In late January a blackbird flew into my garden to forage as they occasionally do. The species was introduced to Australia in the 1850s. Nevertheless I enjoy their gentleness. The appearance of this particular bird however has stayed with me as it had one white tail feather. Was it a genetic mutation? An environmental consequence of being in a foreign land? Its lack of symmetry as is usual in bird tail feathers lead me to consider the boundary or ‘threshold’ of decoration and composition. What is the minimal point where compositional dialogue commences? It led a series of ‘paper paintings’ called the Blackbird Series. ‘Puff’ is part of this series and its shape relates to native fungus growing near the Yarra River.'
Industrial Panorama
Curated by Clinton Cross
Gatakers Artspace Maryborough, Qld.
Opening November 29
To 5th January 2020.
Artists
Nicolo Baraggioli
Terri Brooks
Marlene Sarroff
Diane Scott
Jo Katsiaris
Karee Dahl
Rose Moxham
David. T. Milller
Michael Cusack
Christine Myerscough
Clinton Cross
Beverly Rautenberg
Stuart Fineman
Roland Orepuk
Fabian Freese
Frank van Ansem
Lorna Crane
Ulla Pedersen
Deb Covell
Jo Williams
Louise Tuckwell
Evelyn Snoek
Glenn Locklee
Installation shots:
Gatakers Artspace Maryborough, Qld.
Opening November 29
To 5th January 2020.
White Bands, 2018, oil on card, 25 x 15 cm. |
Grey Stripes, 2018, oil on card, 30 x 12 cm. |
Artists
Nicolo Baraggioli
Terri Brooks
Marlene Sarroff
Diane Scott
Jo Katsiaris
Karee Dahl
Rose Moxham
David. T. Milller
Michael Cusack
Christine Myerscough
Clinton Cross
Beverly Rautenberg
Stuart Fineman
Roland Orepuk
Fabian Freese
Frank van Ansem
Lorna Crane
Ulla Pedersen
Deb Covell
Jo Williams
Louise Tuckwell
Evelyn Snoek
Glenn Locklee
Installation shots:
Biennale of Reductive and Non Objective Art
An independent biennale of contemporary reductive arts to be held in assoc with the CNOA Biennale of Grenoble. The event takes place in three cities, Kyiv, Grenoble and Sydney. Over 120 artists from abroad nationally and locally presenting in Sydney. Please come and celebrate what is also the opening of a new venue for the arts and community use in Parramatta, located in a warehouse behind Parramatta Goal. Opens from 1pm to 5pm sat Oct 19.
Opening this Friday at The Stores building and then Fri and Sat from 1 to 5pm weekly.
Entry is free. See The Stores Building on FB for more information.
Opening this Friday at The Stores building and then Fri and Sat from 1 to 5pm weekly.
Entry is free. See The Stores Building on FB for more information.
RNOP Road Paintings at the Biennale, Top Steven Baris, photo Marlene Sarroff |
RNOP Road Paintings at the Biennale, photo Dani Marti |
Widewalls
'Abstraction Between Order and Chaos - Terri Brooks in an Interview'
Brent Hallard
Widewalls Magazine
October 11
Read the article here: https://www.widewalls.ch/abstraction-between-order-and-chaos-terri-brooks-in-an-interview/
Brent Hallard is an Australian-born abstract artist, curator and writer whose works on paper and aluminium explore minimalist iconography and monochromatic expressions.
Brent Hallard
Widewalls Magazine
October 11
Thanks very much Bent Hallard and Widewalls for sharing the time with me for this interview.
Following a Path
Grey Lines, 2016, oil on canvas, 123 x 120 cm |
September 18 to October 13
Tacit Art Galleries in association with Flinders Lane Gallery
123a Gipps Street, Collingwood, Victoria
Opening Wednesday September 18 6.30-8 pm
10% of any sales going to the Australia Cancer Research Foundation |
Selected works:
Variations on White, 2014, oil and enamel on canvas, 153 x 153 cm. |
Black Side, 2015, oil, enamel and pencil on canvas, 153 x 153 cm. |
Black Weave, 2018, oil on canvas, 122 x 91 cm. |
Loose Grid, 2019, oil on canvas, 76 x 61 cm. |
Paper Painting, Blackbird Series, Waterline, 2019, oil and enamel on paper, 31 x 22 x 14 cm. |
A Line Made by Walking, 1967, Richard
Long
The sojourns of neighbour’s collide, but how often do they travel the
same road? Grass bends beneath our feet, as together we cross between old and
new paths, while talking about life and art and all the poetry in between.
I am one
twinkle in the constellation of humanity, trying to understand and see other
stars. Light emissions fluctuate as their light is blinded by orbiting
companions or perhaps my view is
blinded by mine. I sometimes fail to see the wonder of other stars.
I feel this
is where my view of Terri and her art started, overcast with distractions.
However, I’m not sure if becoming better friends with Terri has led me to
admire her art more or discovering the world of minimal art has resulted in
seeing Terri as a truly bright and beautiful star.
Walking
My neighbour walks the path I trod,
But does she see the things I saw?
Sometimes I
ask Terri to describe herself or what her art is. The answer always seems to
blend both as we walk a path that has inspired her art and directed her life. Terri’s
painting philosophy is closer to Chinese landscape painting than the Western
realist landscape tradition ... an artist
stands on one mountain and paints what it feels like to gaze upon another mountain.
Terri is a sixth
generation Australian, or perhaps even more. She lives near two waterways, the
Yarra and the Merri, although she cannot see them from home. Her kindred birds
and trees tell her the river and creek are near. Throughout her life, Terri has
walked almost all the paths that meander and weave across the meeting place of
these waters. It is her space, her peace, full of music she loves and her home.
Serenity
My hand was held along the river banks,
as nature and I became friends.
The outside world called to me,
‘discover what I’ve hidden - seen and unseen.’
Sometimes the wind and rain hastened my steps
to a secret retreat,
or the sun invited me to linger and breathe,
with eucalypt oil drifting on
the wind.
My arms reached up to grab stringy bark
peeling from upstretched gums.
I climbed into the hollow trunk filled with the life
of birds and bugs and me, as the tree decayed.
Fields of wildflowers and grassy woodlands
grown tall and wild in the sun
sway in the wind,
as I sway in the wind,
hearing it…
The sounds and songs that spoke
and still speak to my soul.
Serenity guides my life
and the strokes of my brush.
My art’s not always calm, as nature can be wild,
simplified to bare forms,
elementary,
which cycles,
comforting and peaceful and serene.
It has been
said that a ‘king’s’ burial ground lies where the Yarra and Merri meet and
Billibellary is buried here, but a freeway and revegetation now claim this land.
A great meeting of Indigenous people was held at the Merri Creek on Heidelberg
Road when Terri was a child. They stayed many days in their tents and then were
gone. Their departure faded into a memory for Terri, like the songs from a flock
of birds gathering and then returning
home. Recently, a blackbird
inspired Terri’s creativity and the opening lyrics of ‘Blackbird’ (Paul
McCartney, 1968) pervaded her thoughts.
Blackbird
The sun shines after rain has fallen, glistening on receding puddles
that beckon the little blackbirds to come and bathe before they fade
away.
Birds chirp and call to each other as their plumage puffs in splashed
water.
Black wings unfold and tails twitch, but one bird is different.
A white feather interrupts the black symmetry.
No other birds notice or seem to mind, chirping and puffing and
splashing.
Lines ripple in the water as the puddle plays too.
The puddle’s time is short as the sun shines on and on.
Then the blackbirds flee, their songs fade, the water recedes and all
that remains
are the water lines hinting of their past fun.
The Great Heidelberg
Road was the first road to be macadamised in Victoria in the late 1840s and it
was private. The toll gate was near Terri’s house, as was the Yarra Bend
Asylum. She remembers when Heidelberg Road was closed for days when the Merri
flooded after heavy rain. That has never happened again and terraced gardens at
Yarra Bend and some stone steps are all that remain of the toll gate and asylum.
It is here she
stood as a child with her grandfather on a sunny day talking about nature and
the park. Together they would sing ‘Side by Side’ (Harry M Woods,
1927) as they walked.
Terri’s
history is intertwined with the land around her, culminating into her present
as the rivers combine into something greater together. Painting and walking go
hand in hand. Terri walks before she paints. Thoughts float in and out while
Terri walks and problems that house her dissipate. She obtains a state of free
association while being in the now, looking, thinking and relating.
As an
abstract artist, Terri works with the elements of art that include line, shape,
colour and tone. She thinks about paint and the marks she makes back in the
studio. There’s a relationship between what she has seen walking and marks she
creates on her canvases.
Contoured Paths
A purely straight line is boring, untouched by the vibrations of life,
and my world is filled with distorted lines:
twisted, bending, curved and contorted by the variety of the world I
live in.
No straight line was ever true,
an illusion of someone blind to imperfect beauty.
I like the curves, bumps and meandering flow of motion in the world,
so fast my eyes can’t follow or infinitesimally slow the world seems
to stand still.
We don’t always see eye to eye, out of view on the bent lines we
follow.
We are intertwined in the woven lines,
and tangle for moments
or years or decades,
until quiet vibrations or earthquakes move us on our way.
My lines stretch forth and are what they are.
Fear not if separation finds us because the weave that connects
will see our lines intersect again,
in this life
or the next.
Her city
could be any city intertwined with nature and part of her essence. Terri feels
the texture of a perfectly formed geometric seed pod while she studies graffiti,
road signs telling her to stop and green lights directing her to go. Scuffs, rain patterns, and dribbling rust
stains, new and old architecture, and forgotten traces of the presence of man
decay and are reclaimed by nature.
These marks
and patterns tell her where she is and guide her hand on the canvas. Thoughts of nature and how we are as people
are reflected in her art. We really are part of the world. We are the
lightning, the wind, the rain and the thunder. During her painting process, she
is back in the rhythm of walking, searching for harmony, but now it’s with
lines on the canvas using elements of nature such as motion, gravity and time,
and therefore history.
Ash
Walking at dusk when the lights are low,
Black and white vision are last to go.
That’s why ash is my favourite colour.
Not a burnt-out end or death for some,
A chance for something new to become.
Art born where urban nature is mother
Night and then a deep breath in the dawn,
Black, white and grey shapes and lines are drawn
In the stillness of art, my soul recovers
Installation image Tacit Galleries |
Installation image Tacit Galleries |
Installation image Tacit Galleries |
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