Third Birthday Exhibition

Opening this Saturday 17th August 6pm.
Music Performance starts with Colleen Peterson at 7.30 pm.
Cross Gallery

Selected works:

Striped Wrap, 2019, oil on card, 27 x 18 x 9 cm. Private collection.

Black Stripe, 2018, oil on paper on card, 39 x 13 cm.

Black Border, 2018, oil on card, 40 x 20 cm. Private collection.

Congratulations to Clinton Cross for achieving high standard international exhibitions of innovative art to Australia.

Salon installation at Cross Gallery

Free and Breathe

Two exhibitions
'Free' Arvid Boecker
'Breathe' curated by Arvid Boecker
June 28 - August 18
Museum St Wendel

Terri Brooks, Veiled Yellow Dots, oil, enamel, pigment and PVA on canvas, 40 x 40 cm.

Installation image of  'Breathe'

At the opening 'Free'

At the opening 'Breathe'

'Boecker shows works by himself and colleagues' Saarbruecker-Zeitung, DE. July 17.
"The trend has gone away from the subject, towards an avant-garde orientation, (Cornelieke) Lagerwaard writes. The painting process is now also part of the artwork.'

Museum St Wendel, Saarbruecker-Zeitung, DE

Arvid Boecker, 'Breathe' and 'Free', Museum St Wendel

New Modern

Co curator and on-line artist essay: Billy Gruner.

Five Walls
13.06.19 – 29.06.19

Terri Brooks, Box Set, 2019, oil and acrylic on card, 23 x 21 x 4 cm.

'The background theme of ‘New Modern’ discourse outlined earlier in a series of closed-door events held at the Saturation Point in London is by literary conceit to best understood as a related matter in the concept development towards Melbourne. Just as the London events similarly featured artists I would consider foundational to one of the fastest growing genres of modern art after the 20thc century. And given that the central aim for each RNOP presentation is to connect people while highlighting shifting differences and aesthetic concerns between the individual participants, there is, in particular, a relating to or, feeling for disparateness ‘historical precedence’, at the same time. From that vantage, there is at least some critical way to begin commenting on how and why so many contemporary divergent voices within contemporary art are reading each other’s practices so carefully, and in great detail within a single genre. Moreover, it is fundamentally critical to note how these often highly trained artists may be contemporaneously utilising and enacting on individual concerns, while simultaneously developing associated styles or sharing art-critical associations on a flattened out platform simultaneously. That is modern work not seen before. Traction.'  excerpt catalogue essay by Billy Gruner.

75 artists including:

Pam Aitken (Au) - Tania Alexander (Au) - Wahida Azhari(De) - Steven Baris (USA) - Arvid Boecker (De) - Karin Beyens (Bel) - Louise Blyton (Au) - Christine Boiry (Fr) - Terri Brooks (Au) - Raymond Carter (Au) - Andrew Christofides (Au) - Chanelle Collier (Au) - Deb Covell (UK) - Ivo Ringe (De) - Dombrovska Elena (Ukr) - Mikala Dwyer (Au) - Craig Easton (Ch) - Stuart Fineman (USA) - Robbie Fraser (Auc) - Connie Goldman (USA) - Daniel Gottin (Ch) - Dima Gred (Rus) - Billy Gruner (Au) - Badri Guhubianuri (Ukr) - Andrew Gutteridge (Au) - Alan Hathaway (Uk) - Jose Heerkens (Nd) - PJ Hickman (Au) - Peter Holm (Dk) - Kyle Jenkins (Au) - Jeffrey Cortland Jones (Usa) - Heather Jones (Usa) - Sarah Keighery (Au) - Graham Davis King (Au) - Erdem Kucuk-Koroglu (Tur) - Emma Langridge (Au) - Karin Lind (Dk) - Aaron Martin(Au) - Kate Kate Mackay (Au) - Tarn McLean (Au) - Munira Naqui (Usa) - John Nixon (Au) - Brooke Nixon (Usa) - Roland Orépük (Fr) - Ulla Pedersen (Dk) - Anya Pesce (Au) - Serhiy Popov (Ukr) - Theresa Poulton (Uk) - Marlene Sarroff (Au) - David Schell (Usa) - Karen Schifano (Usa) - Lisa Sharp (Au) - Suzan Shutann (Usa) - Ingela Skytte (Dk) - Jessica Snow (Usa) - Anya Speilman (Usa) - T. Michael Stephens (Usa) - Bogumila Strojna (Fr) - Tiberiy Szilvashi (Ukr) - Masato Takasaka (Au) - Aimee Aimée Terburg (Nd) - Patricia Todarello (Au) - LI Trincere (Usa) - Stu Burke (Uk) - Richard Van der Richard van der Aa (Fr) - lemke van Djik (Nd) - Myroslav Vayda (Ukr) - Ian Wells (Au) - Stephen Stephen L Wickham (Au) - Sebastian Wickeroth (De) - Joe Wilson (Au) - Guido Winkler (Nd) - Douglas Witmar (Usa) - Elke Wohlfahrt (Au)


Photo by West Projects FB

Exhibition opening

Installation photos RNOP Melbourne

Aptos Cruz Galleries

APTOS CRUZ ABSOLUTELY EVERYTHING SALE includes our complete range of International and Australian manufacturers of furniture and lighting by some of the worlds most highly regarded designers, in stock or custom order to your specification.

Sale also includes our complete stable of contemporary artists, oriental antiques, tribal art and more.

Open everyday 10am-5pm. Sale finishes Sunday 16th June 2019. Be Early.

Shiny White Dot 2011. Oil and enamel on canvas 95 x 78 cm.

Weathered Ridges 2011. Oil and pencil on canvas 109 x 78 cm

Black Base 2013 Oil and pencil on canvas 110 x 145 cm

Vertical Marks 2014. Oil on canvas, 153 x 183 cm.

There are 15 key works of mine available at the gallery. Visit website here

Line and Weight

May 15 - June 1
Flinders Lane Gallery
Level 1, Nicholas Building
Cnr Swanston and Flinders Lane Melbourne

Opening Saturday, May 25 from 1-3 pm.

Good Thinking, 2019, oil on canvas, 122 x 153 cm.

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

Brown Weft, 2018, oil on canvas, 91 x 71 cm.

Black White Construction, 2018, oil on canvas, 38 x 31 cm.

Flattened Package, 2018, oil on card, 42 x 34 cm.

Oval Lines, 2018, oil on paper on card, 56 x 39 cm.

An Infinite Fabric

Terri Brooks: Line and Weight

Anna Dunnill

To paint on canvas is to engage with an inherently gridded form. Like all woven fabric, canvas is constructed from a network of perpendicular threads: warp (vertical) interlocked with weft (horizontal) in a repeating over-under pattern. Fastened around a standard rectangle, it sets the parameters of the surface: verticals and horizontals set at 90 degree angles. Binary systems.

Throughout her multi-decade practice, artist Terri Brooks has used a process of intuitive layered mark-making to push these parameters apart and pull them back together, softening the grid’s hard angles into looser threads and earthy washes of colour.

In Line and Weight, Brooks has produced a sophisticated suite of paintings with clarity and depth. While sitting firmly in abstraction, her work is alive to its surroundings: it hints toward tree bark, stitching, textured cloth, scuff marks, architecture. Tactile things buried in the strata of memory.

For some works, like Brown Weft, 2019, the painting process is a lengthy one, taking perhaps five months and 40 or 50 layers; Brooks shows me the side of the canvas with its strata of paint to prove it. The resulting piece is far from weighed down, though. It undulates, its grid-lines extending off the picture plane. Chinks of light within the ‘weave’ reveal the layers underneath, the visible process of its making.

Brooks remembers her grandmother, who lived through the 1930s Great Depression, describing feats of ‘making do’. A few packing cases, for instance, might with some vision and ingenuity be turned into a lounge suite. In such times of necessity, the function of an object becomes fluid, its edges blurred; it contains the possibility of many forms.

This approach underscores Brooks’s practice. ‘Improvisation,’ she points out, ‘is the basis of making do.’ Pared down to the simplest form—the line—and a reduced palette that embraces the shades between black, white and brown, Line and Weight demonstrates the richness of Brooks’s repetitive painterly gesture, an ongoing improvisation as each mark responds to the one before.

One work gestures further towards the make-do ethos. Flattened Package, 2018, was once a humble cardboard box; the three-dimensional grid of its original hollow form is squashed flat. Brooks likens it to ‘road detritus’ seen on frequent walks: ‘paper and cardboard run over, discarded and weathered.’ Flattened Package is an irreverent object: flat planes buckled, edges bulging, the grid thoroughly disrupted.

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’.[i] 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.

[i] Rosalind Krauss, “Grids,” October 9, no. Summer, 1979 (1979): 50–64.

Regency, 2018, oil and enamel on canvas, 122 x 183 cm.

Twins, 2019, oil on hardened paper, 40 x 30 cm.

Link to full suite of paintings at Flinders Lane Gallery here

The works are now at Flinders Lane Gallery. Pictured here with assistant gallery director
is Flattened Package  and behind Thin White Lines, 2015.

Installation shots:

The Local Project

The St Kilda Residence by Doherty Design Studio.

‘Striped Box’ 2018, oil on paper, 40cm x 25cm x 14cm.

Rose Onens, ‘Colour Through the Decades’ St Kilda Residence by Doherty Design Studio, The Local Project, March 18. Link here.

FLG 1999

In May 2019 I have a solo exhibition 'Line and Weight' at Flinders Lane Gallery Melbourne. Reflecting here on my second solo exhibition at Flinders Lane Gallery in 1999 with founding director Sonia Heitlinger.

Infrastructure 1999, oil and pencil on canvas, 153 x 91 cm. Private collection.

Infrastructure 1999, was a meditation on movement through the city.

Isolation, 1999, oil and pencil on canvas, 153 x 122 cm. Private collection.

Isolation, 1999, oil and pencil on canvas, 153 x 122 cm was influenced by the 1980 Joy Division song of the same name. “A blindness that touches perfection..But hurts just like anything else.” 

Pan, 1999, oil and pencil on canvas, 153 x 122 cm. Private collection.

Pan, 1999, oil and pencil on canvas, 153 x 122 cm. The palette of Pan and the open space was based on dry lake beds outback Australia. 

Flinders Lane Opening 1999.

I stayed in occasional contact with Sonia Heitlinger as recently as 2015. Sonia, a painter herself, attended some painting classes I taught at Fitzroy Painting in between her global lifestyle.

Flinders Lane Gallery installation shot 1999.

Above and Below, 1999  (left), was purchased by the Macquarie Group Collection, Sydney. 


 Pleased to announce that I am now represented by Richeldis Fine Art, London. 

Ribbons, 2011. Oil and enamel on canvas, 153 x 244 cm.

The Line Marker, 2011. Oil, enamel, pigment, PVA on canvas, 108 x 85 cm

Black Dot White Stripe, 2013, Oil and enamel on canvas, 39 x 39 cm.

‘Richeldis Fine Art is a touring art gallery and consultancy representing leading and emerging contemporary artists with an emphasis on minimal abstract art, alongside key British Modern works.’


Up coming group exhibition curated by Clinton Cross (Cross Gallery, Bundaberg)

Gatakers Artspace Maryborough, QLD.

4th February- 3rd March 2019 

Louise Gresswell 
Terri Brooks 
Steffen Schiemann DE 
Beverly Rautenberg US 
Marlene Sarroff 
Yvonne Boag 
Christian Flynn 
Rhonda Baum 
Louise Blyton 
Simon Kilvert 
Deb Covell UK 
Larissa Blake 

Terri Brooks, Concave Drawing, 2018, oil, enamel and pencil on paper, 34 x 30 x 9 cm x 2. Angle.
Opening and installation shots:

Sheraton Four Points Central Park

'Beige White and Black Lines' 2018, Diptych in situ in the foyer, Sheraton Four Points.

'Beige and White, 2014 was the inspiration image for the final diptych.

In 2018 I was commissioned by the new Four Points Sheraton in Chippendale, Sydney. 
It was a wonderful project.
I absolutely love the consultative process.
Thank you Four Points by Sheraton Hotels, D'Cruz Design Group and artduo in Sydney.

The Age, Domain

'Interior experts reveal the home items they always splurge on' 
Lauren Powell
Nov 13, 2018

'Dusty Pink' in situ, interior by Greg Natale.

”I’ve always been a big advocate of allocating some of your interior design money for art — and if you can push the budget that little bit further, I encourage my clients to collect at least one good oil painting for their collection — they contain so much depth. Art in the home can take on any number of roles. It can contrast, complement, draw a scheme together or make its own statement. My own home brings together sculpture, paintings, prints and mixed-media works. They each contribute character and a point of interest that I never get bored of.” Greg Natale, designer.

View article here

Thank you Greg Natale for your on going support of the arts.