Curated by Paul Snell
Poimena Gallery
Launceston, Tasmania
Ten Days on the Island
March 11 to May 6

Black Line Grid, 2020, oil on canvas, 71 x 61 cm.

Installation photos:

‘It is what it is’ is such a frustrating statement. Usually, its utterance implies a lack of critical or analytical capacity, often tinged perhaps with defensiveness, or even a lack of inclination to engage. It can of course also refer on a higher plane to the truly ineffable or inexplicable – still somewhat frustrating. Yet in this excellent exhibition deftly curated by Paul Snell it finally has value and real meaning.

The 43 artists in this exhibition are only broadly linked stylistically in their commitment to abstraction, but the overriding conceptual connection is that their art demands a commitment from the viewer to engage with the elemental nature of the work, to accept that it is what it is, no more and no less.

The plethora of terms which could be employed to theoretically ‘place’ these various works could include, minimalist, reductive, purist, non-objective, concrete, hard edge abstract, materialist, formless, retinal, abject…and the list goes on.

As soon as we get involved in the limitations of such defining, we move away from the artwork, or we push it away. As Susan Sontag has elucidated, we effectively kill it, neutralise it.

Laurien Renckens states of her work - ‘one loses oneself in them’. We find ourselves in a new world of ‘delayed observation’. ‘You have to surpass a threshold, to feel at home vis-à-vis this work.’ And this is essentially true in relation to all the work in Orbit.

What is required is a willing submission. We often tend to look beyond the phenomenon of what is actually happening, what is actually there. We avoid the key confrontation which is actually one of submission to the, often ineffable, nature of the experience

Excerpt exhibition essay, Sean Kelly

Of Colour and Light

Women Abstract Artists' Biennial 2020 (Victorian Artists - Australia)
16 December 2020 - February 2021
West End Art Space

Opening: 19 January 2021, with guest speaker Leah Justin from the Justin Art House Museum.

Participating artists:
Samara Adamson-Pinczewski, Nicole Allen, Irene Barberis, Liliana Barbieri, Carol Batchelor, Sue Beyer, Louise Blyton, Liz Bodey, Lynne Boyd, Fleur Brett, Terri Brooks, Elly Buckley, Victoria Cattoni, Veronica Caven Aldous, Magda Cebokli, Dawn Csutoros, Madeleine Joy Dawes, Lesley Dumbrell, Agneta Ekholm, Roz Esplin, Jennifer Goodman, Mandy Gunn, Anni Hagberg, Fiona Halse, Anne Hastie, Kate Hendry, Polly Hollyoak, Andrea Hughes, Shelley Jardine, Wendy Kelly, Suzi Leahy Raleigh, Stephania Leigh, Helen McInnis, Suzanne Moss, Cathy Muhling, Fran O’Neill, Jacklyn Peters, Caroline Phillips, Linda Pickering, Julia Powels, Jenny Reddin, Anna Rowbury, Melinda Schawel, Antonia Sellbach, Jacqueline Stojanović, Wilma Tabacco, Leah Teschendorff, Kerrie Warren, Susan Watson Knight, Lorri Whiting

Walking the Grid, 2020, oil on canvas, 76 x 61 cm.

Light and Shade

Linton and Kay Galleries
West Perth Gallery
7-22 December
Opening Saturday 12 December 12-4 pm

Artist statement:

Melbourne Lockdown

Painting has been one of the few things I have been allowed to do in the past six months as I have a home studio. All of my work is about light and shade, or an enquiry into the perplexity of duality in life. Lately I have been hoping for the triumph of light over shade. 

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


Flinders Lane Gallery
October 19-31
On line exhibition

Terri Brooks has been creating her unique paper and card boxes for over ten years, and has garnered international recognition.

Her distinctive art was recently celebrated in the northern Italian contemporary art magazine Sineresi as part of their series ‘The Exhibitions of Sineresi’ showcasing international artists. Their article La profondità del nulla (The Profundity of Nothing) featured a collection of both Brooks’ paintings and paper objects from 2003 to present.

In July, Terri also won the international Paper Bag Award Show at Cross Gallery, Queensland. 

All artworks are available for purchase.
For further high resolution images please email Flinders Lane Gallery info@flg.com.au.

Artist statement:

I have a long standing interest in art prior to the Renaissance. The paper works in ‘Gems’ follows on from my series of paper crowns, ‘Oligarchy’ 2017. Each crown explored a different element of decoration associated with rulership and power. 

In the spirit of the almost surreal materialism of Pop artist Claes Oldenburg’s soft sculptures including electric fans, the paper works in ‘Gems’ are based on observations of stone cuts and metalsmith techniques associated with the Gothic period. A time when different ‘precious’ stones and metals denoted status and had spiritual associations. 

Halo, 2019, oil on paper, 34 x 29 x 9 cm.

High Cut, 2019, oil on paper, 32 x 26 x 13 cm.

Black Gold, 2020, oil on paper, 38 x 24 x 10 cm.

Red Coral, 2020, oil on paper, 38 x 26 x 17 cm.

Emerald White, 2019, oil on paper, 27 x 21 x 10 cm.

Sapphire White, 2019, oil on paper, 27 x 21 x 9 cm.

Royal Violet, 2019, oil on paper, 32 x 25 x 15 cm

Installation images:

The Profundity of Nothing

Terri Brooks

Works 2016-20
October 4 to November 10
The Exhibitions of Sineresi
Sineresi Arte, Italy 

Critical text A.J.Byrnes
Edited by Anna R.J.Rivelli
Photograph Alan Cotton 

Many thanks to Giovanni Cafarelli and editor Anna R.J.Rivelli

Minor Variations, 2003, oil and enamel on canvas, 153 x 183 cm. Private collection Australia

'The deployment of reductionist aesthetics and the modernist grid – albeit an often disassembled one in Brooks’ work, provide key points of departure for both artist and viewer. The physical properties of the grid offer stasis and a lack of hierarchy, which informs the transformative promise of this work. Attention is given to the simplicity of the works’ structure, to their ordered qualities and muteness, which directs the viewer back upon the quality of his or her own perceptions. The viewer moves from a state of chaos to inner equilibrium and focused attention and as a consequence, one is urged to reflect on the present at a profoundly physical level. Every aspect of such an experience, its reflectiveness, the manner in which it illuminates the nature of our feeling and knowing through an object, a spatial situation, suggests an analogy to the posture and method of phenomenological inquiry.' Excerpt A.J.Byrnes, The Profundity of Nothing.

Arc, 2010, oil and enamel on paper, 41 x 31 cm x 2. Private collection Germany

With Black Dot, 2011, oil, enamel, pigment and PVA on canvas, 43 x 33 cm. Private collection Australia

White Process, 2019, oil on canvas, 137 x 183 cm.

Brown Black Lines, 2020, oil on canvas, 41 x 31 cm

'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 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. The mark making of my abstract paintings comprises the use of opposite elements including black, white, dot and line and horizontals and verticals. Natural processes, architecture and ‘found marks’ observed walking in the city and landscape inform the work.' Sineresi Arte


'Terri Brooks la profondità del nulla, Dal caos dell'equilibrio interiore', Sineresi Arte, 
Cronache del Mezzogiorno, It. July 19, 2021. p5.

Les PromenadeS du regard

By Jacques Lefebvre-Linetzky 
September 14, 2020 

‘Drawing is, according to Klee, a daily exercise that continues over the days, a dynamic creative act. Each line echoes the previous one and announces the next, the line is music where each note finds its place in a system that is both repetitive and unique. In short, it is not that simple a "simple" line ... I will be careful not to offer you an exhaustive list of artists who have looked into the question. I wouldn't be able to, there are too many of them.’ Translated excerpt.

Thanks so much Jacques Lefebvre-Linetzky 

Following the Line, 2018, oil on canvas, 107 x 91 cm.

This lengthy blog post links my work to classic films and other artists who use line including Paul Klee. 

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

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

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