Terri Brooks

Terri Brooks in Focus

Linton and Kay Galleries

299 Railway Rd (cnr Nicholson Rd)
Subiaco WA 6008
Phone: (08) 9388 3300
Monday to Saturday 10-4 pm, Sunday 11-4 pm

https://www.lintonandkay.com.au/

Email: info@lintonandkay.com.au

Rule of Thirds, 2020, oil on canvas, 102 x 102 cm.

Crisscross, 2020, oil on canvas, 112 x 102 cm.

Horizontal Yellow, 2020, oil on canvas, 107 x 137 cm.

Summertime Blues, 2020, oil on canvas, 123 x 97 cm.

Buff, White Lines, 2020, oil on canvas, 122 x 91 cm.

Radiate, 2020, oil on canvas, 91 x 71 cm.

Ways to make a check, 2020, oil on canvas, 84 x 61 cm.

Broken Weave, 2020, oil on canvas, 84 x 61 cm.

Fine Grid, 2020, oil on canvas,41 x 31 cm.

The Paper Bag Award Show

Cross Gallery
Opening July 18

Electra Street

Bundaberg, Qld.
https://www.cross-gallery1.com/

My bags are each made from twelve supermarket brown paper lunch bags that have been pulled apart and reconstructed. They are rock hard.

Paper Bag, 2020, oil on paper, 21 x 28 x 8 cm.

The bag ‘painting’ is based on a memory of sugar coated candy. When I was at high school I had a part time job bagging candy for Coles in Bourke Street, Melbourne.

Many thanks to the award judge John Greenhaigh for selecting 'Paper Bag' as the winner!

There are so many great entries from around the world.

Black Stripe Bag, 2020, 21 x 25 x 14 cm.

This bag painting is based on the memories of the bags you get when you buy fine art materials.

Clinton Cross in the NewsMail, June 10, Bundaberg Qld.

NewsMail, June 10, Bundaberg Qld.

Rhylea Millar, 'The cat is out of the paper bag: Exhibition winner announced'

DailyMail Bundaberg, July 23.

Article excerpts

Then and Now

Artist' Luck, 2020, mobile selfie.

Frederick McCubbin. Down on His Luck, 1889, oil on canvas, 115 x 153 cm (detail).

These times are being likened to the 1930s Great Depression. The 1890s were also a time of Depression after the Land Boom. I live where the Australia Impressionists painted.

No more 5 pm, 2020, mobile selfie.

John Brack, Collins St, 5p.m, 1955, oil on canvas, 114.8 × 162.8 cm. NGV collection.

‘...Brack depicts Melbourne’s financial centre hub at the end of the working day, uniformly dressed office-workers stream homeward...’ NGV website

Terri Brooks' Lounge Show

Art Lounge International
Ohio, USA
April 2020

Brown Weft

Oil and enamel on canvas

91 x 71 cm; 35.8 x 27.9 in.

Ships from Australia.

USD 2450

I was excited to be invited by the team at TRiCERA to join the Tokyo based online art site.

World's Art as One
TRiCERA's activities are not limited to domestic; we provide a system to support developing countries by selling their hidden artworks to the world. Remove barriers for all artists in the world, "Creativity has No Boundaries" - excerpt Tricera website

Website: https://www.tricera.net/

Below are some included works:

Waves, 2016 oil on canvas, 122 x 153 cm.

Black Weave, 2018, oil on canvas, 91 x 122 cm.

Horizontal Whites, 2020, oil on cardboard, 45 x 35 cm.

Brown White Box, 2020, oil and pencil on cardboard, 45 x 35 cm. Angel view.

Art Lounge International

I have happily up-scaled my collection of paintings available at Art Lounge International including the works below. Shipping from Melbourne.

Based in Ohio the site specialises in reductive and new modern works.

Brown Stripes, 2019, oil on canvas, 122 x 122 cm.

White Square, 2019, oil on canvas 76 x 71 cm.

emergent magazine

émergent Magazine is a printed and internationally distributed publication focusing on contemporary painting.

Guest Editor Emma North, Richeldis Fine Art, along with articles on Park Seo-Bo and Pat Steir.

émergent brings together both established and developing contemporary painters. émergent can be found in institutions and galleries around the world such as MoMA PS1 in New York and the Tate Modern in London.

Emergent Magazine arrived in the post! Very happy to be included. Some pages....

Kathryn Marshall, Terri Brooks, guest editor, Emma North, Richeldis Fine Art, Emergent Magazine UK, 177-87.

20 (2020)

March 4 - 15

TACIT ART
123a Gipps Street, Collingwood, Victoria
Opening Wednesday March 4, 6.30-8 pm

A group exhibition of selected artists as part of Tacit's 20 year anniversary. Each artist was given a 20 x 20" (51 x 51 cm) canvas to work with.

Brown Plain, 2020, oil on canvas, 51 x 51 cm.

Installation image

Rose Moxham, John Hockings and Terri Brooks

Opening Friday 6th March 6pm
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.

Images: close up of the mural and in situation.

Update book published!

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

This survey exhibition brings together a broad range of mediums and approaches to abstraction and includes both local, national and internationally recognised practitioners.

Exhibiting Artists

Jake Walker, Tineke Porck, Lev Khesin, Billy Gruner, Paul Moncrieff, Suzie Idiens, Sarah Keighery, Carolyn Wigston, Anya Pesce, Louise Blyton, Diane Scott, Stephen Wickham, Aaron Martin, Deb Covell, Lisa Sharp, Eloise Kirk, Steven Carson, Dan Rocha, Anne Mestitz, Terri Brooks, Pia Løye, Nicola Staeglich, Ivan De Menis, Ryllton Viney, Lisa Patroni, Michael Muruste, Paul Snell, Noah Spivak, Patrizia Biondi, Molly Thomson, Marlene Sarroff, Ian Wells, Monique Lacey, Paul Bishop, Ryan Sarah Murphy, Magda Cebokli, Michelangelo Russo, Jennifer Jabu, Pim Piët , Susan Andrews, Kevin Lund, David Marsden, Jamin Kluss, Ilkka Parni, Jeff Conefry, Brent Hallard, Louise Gresswell.

Image_ Object, examines the relationship between the visual and the physical in non-objective works. Most artworks, it can be argued, are fusions of imagery and objecthood. This exhibition reveals an increasing emphasis upon texture and surface qualities. The predilection for large areas of undifferentiated or barely fluctuating colour, the exploitation of the edge, of the shaped or moulded support, and the physical juxtaposition of disparate or borrowed elements.

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

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.