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 - 15Tacit Art Galleries
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

Rose Moxham

John Hockings

Terri Brooks

A6 Murals Worldwide

A project by Lydia Wierenga's (Netherlands)

Mural No. 18
January 30, 2020
Melbourne, Australia


Each artist has a set of instructions to create the mural and document it.

Images: close up of the mural, in situation, outside my house, my work and a self portrait.


curated by Paul Snell
Opening January 16
Poimena Gallery
Mona Foma 2020

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.

Visit the website: https://artlounge.io/

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

Salvaconnome (Saveas)

December 13

Everyone takes a photo with the phone but few people take photos

Curated by Adriano Pasquali in 2009 and now in 2019

Exhibiting artists:

Local walk


30th Anniversary Exhibition
Flinders Lane Gallery
To December 21
Level 1, Nicholas Building
Swanston Street

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.'

Installation photo, Flinders Lane Gallery

Opening speeches at Flinders Lane Gallery

Industrial Panorama

Curated by Clinton Cross
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.

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.

RNOP Road Paintings at the Biennale, Top Steven Baris, photo Marlene Sarroff

RNOP Road Paintings at the Biennale, photo Dani Marti


'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/

Thanks very much Bent Hallard and Widewalls for sharing the time with me for this interview.

Brent Hallard is an Australian-born abstract artist, curator and writer whose works on paper and aluminium explore minimalist iconography and monochromatic expressions.

Following a Path

Grey Lines, 2016, oil on canvas, 123 x 120 cm
Works from 2014-9
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

Price List PDF here

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.

Following a Path catalogue essay by Kathryn Marshall and Terri Brooks

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.
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.

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,
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.

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.

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