Painting, Installations, Objects

Exhibition Flyer, Szczecin, Poland.

Galleria Kierat, ZPAP, Szczecin, Poland

Arrangement Space

This group shares a common interest in contemporary art, non-objective and the needs associated with creating space using color in the form of painting objects and installations. The group brings together creative personalities, whose
interests include the following phenomena in art: Minimalism, Shaped Paintings, Arte Povera, Environment, Site Specific Ephemeral and Interactive Art. The exhibition will introduce the part of artistic activity selected from the group Painting Arrangement Space / P.A.S./, which was established in the year 2010. The artists to express their needs use different materials, often harsh or any mundane: wood, metal, paper, cardboard, cloth, plastic and textiles. Additionally some
artists deploy techniques associated with deformation and deconstruction of the image. These treatments are a kind of retreat from traditional “ high art “. At the same time in this way, they emphasize the role of the creative thought process.
You can even venture to say that this is some kind of recycling, which in its consequences can serve sparing the environment. The various techniques of painting are: oil, acrylic, alkyd, lacquers, enamels, graphic and mixed. Some of the presented artists deliberately refer to the nature theme: form, material, color. The artists, despite their similar artistic needs and exploration, speak separately because of color and material choices, different methods of production and personal influences. Artists who are united in their approach to the new concept of the picture is the main premise behind
this exhibition. The purpose of the presentation is to show the way in which contemporary art is shaped by the creation of installations and objects in the world, and whose roots are derived from painting. The exhibition draws attention to
materials and techniques that artists use to express their color needs and the way in which the artwork is presented - its arrangement in space. The whole presentation may be a seen as a kind of provocation to reflect on the need for aesthetics in art.
Marzena Paczkowska, curator


Chris Packer AU

Steffen Scheimann DE

Install shot

Install shot


Non Objective Art from Australia
Opening reception April 21, 7-9 pm
Boeckercontemporary, Heidelberg, Germany.

As part of the 'Australia Now' program, Germany, 2017.

Veiled Yellow Dots, 2013, oil, enamel, pigment, PVA on canvas, 39 x 39 cm.

'Timelines' opening, Boekercontemporary Heidelberg, Germany.

WestEnd Art Space

Grand Opening of WestEnd Art Space
1 April at 1:00–5:00 pm.
185 Rosslyn Street, West Melbourne

Celebrate the launch of a new contemporary art space in West Melbourne, supported by the Trenerry Property Group. "Commencement-Gloss over Rawness" is a group show by Melbourne contemporary artists, to launch the West End Art Space. Exhibiting artists are: Dr Terri Brooks, Jackie Ralph, Ryan McGennisken, Cliff Burtt, Nanou Dupuis, Claire Lefebvre, Pimpisa Tinpalit, Sanja Pahoki, Cezary Stulgis, Glen Jackson, Helen Braun. Curated by Anna Prifti. 

WestEnd Art Space

Photos of the opening today...

West Melbourne

Rotterdam Contemporary Art Fair

Rotterdam Contemporary Art Fair
Kunsthuis LOOF
Stand 44
February 8 -12
World Trade Centre Rotterdam

Jet van Oosten, Stan Van Steendam, Peter Hiemstra, Terri Brooks

Block Crinkle, 2015, oil and enamel on paper, 59 x 50 x 10 cm.

The 6th edition of the Rotterdam Contemporary Art Fair will take place at the World Trade Center. The fair will be held during the Rotterdam Art Week together with Art Rotterdam and other events, creating the biggest art fair week in The Netherlands. 

Kunsthuis LOOF Stand 44, Rotterdam Contemporary.

Kunsthuis LOOF Stand 44

Rotterdam Contemporary Art Fair, Kunsthuis Loof Booth is on the right.

Niek Hendrix, Rotterdam Contemporary Art Fair 2017, Lost Painters, Netherlands, Feb. 10.
My work is featured as 'worth seeing' in this web magazine with Kunsthuis LOOF. Link here

Principia - Flinders Lane Gallery

Red White, 2016, oil and enamel on canvas, 153 x 153 cm.

Black Side, 2016, oil, enamel and pencil on canvas, 153 x 153 cm.

Solo exhibition at Flinders Lane Gallery Melbourne.
November 29 - 17 December 2016
Opening and artist talk, December 3, 1 - 3 pm.

You can view the exhibition at:

The profundity of nothing

Dr A.J.Byrnes

What is abstract art good for? What’s the use for us as individuals or as a society – of pictures of nothing, of paintings or sculptures or drawings that on initial encounter, do not seem to show anything but themselves? These opening words in a seminal text by American writer and academic Kirk Varnedoe succinctly articulate the fight for legitimacy both abstract minimal art and its advocates have had to endure since its reception in the middle part of the Twentieth Century.

The oeuvre of Melbourne abstractionist Terri Brooks and indeed the works in this exhibition Principia invite this same general misunderstandings and scepticisms that people often bring to an experience of abstract art. However what is made manifestly clear through this beautifully constructed and intellectually engaging exhibition is that more than just pure looking is necessary to understand the highly poetic and symbolic visual language of artist Terri Brooks.

The paintings in this exhibition reflect an engagement with environments both urban and bucolic. Brooks seeks out spaces - the weathered surfaces of stone, concrete and timber, the irregular geometries and patternation of natural objects, the climatic vacillations of season, the vertical thrust of the urban environment and the boundless horizontals of rural space - distilling such experiences and reducing them visually to their purest and most fundamental state in order to make tangible, a sentient and personal world.

Significantly, Principia presents viewers with a compelling paradox - whilst projecting a rough and imprecise aesthetic, inordinately obdurate in its gestural repetition, persistent in its reference to loosely gridded forms and resolutely reductive in its final analysis this work proffers the viewer with a subtle conceptual didacticism.

Paintings are not simply visual objects without any connection to concepts that can be analysed then evaluated – all objects of design project an impression of the psychological and moral attitude it supports.

So what is the beneficence of Brooks’ abstraction? Where can it be located? And how is it to be understood?

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.[1]

Brooks draws the viewer in, establishing intimate connections with these works through a strategic play of internal relations; connections set up by gestural articulations, delicate layering of colours, serendipitous moments of form and the strategic placement of compositional elements. Curiously these works then operate to force the viewer to a distance from where all the component parts of the work become critical elements of an integrated whole and where the architectural space in which these works are shown also demands recognition as a key aesthetic element.

This is art that eliminates the descriptive, excludes the pictorial, narrative and the fictive, thus focusing on the essential in form, creating what is often referred to as a truth.[2] Thus Brooks’ reduced aesthetic approach speaks to us about order, directness, integrity, veracity and morality; accordingly these stylistic predilections function to extend an invitation for the audience to be purposeful, ethical and socially equitable - the material articulation of our ideas of a good life. This idea that Brooks’ art – or any art for that matter, can speak to us on matters of morality and truth, helps us to place at the very centre of our aesthetic conundrums the question of the values we want to live by rather than merely how we want things to look.

We started here with an explication on the censures often levelled at abstract art as a platform for the discussion of the profound weightiness of Brooks’ paintings of nothing and we finish with the poignant words of English poet Robert Browning,

That which is less complicated is often better understood and more appreciated than what is more complicated; simplicity is preferable to complexity; brevity in communication is more effective than verbosity.

[1] Michelson as cited in: Minimalism - Meyer, Phaidon publishing NY, 2000, reprinted 2005.

[2] Lucy Lippard, The Silent Art, Art in America Magazine, (January – February ed) 1967, Art in America Publications.

Grey on Grey, 2016, oil, enamel and pencil on canvas, 157 x 182 cm.

Grey Cream, 2016, oil and enamel on canvas, 90 x 122 cm.

Red and White Linear, 2016, oil, enamel and pencil on canvas, 153 x 122 cm.

Principia in situ Flinders Lane Gallery

Principia in situ Flinders Lane Gallery

Cross Gallery, Bundaberg

Line Marking, 2011, oil, enamel, pigment and PVA on canvas, 63 x 53 cm

Line Marking, 2011, angle view.

Cross Gallery
Opening December 2
4/3 Electra Street
Bundaberg QLD

Opening solo exhibition by Yvonne Boag, works on paper from Korea. I have contributed Line Marking, 2011, from the 'Over the Edge Series' to the stockroom for the inaugural and historic opening of Cross Gallery, Bundaberg. The gallery is dedicated to contemporary art founded by artist Clinton Cross.

Cross Gallery, Bundaberg

Hall Gallery

Kitchen Shutters with a painting by Peter Liiri.

'Brooks wrote The History Of Making Do for her PhD at university, and the influence of this philosophy is apparent in her decorating style – minimal and natural finishes, self-made artworks, heirlooms and relics are displayed throughout her house.'

Louise Lakier, A Worker's Cottage Embraces History and Efficiency

In August journalist Louise Lakier visited my home studio.
The article about my house can be read on line here

Art The Hague

Art The Hague, October 5-9 with Friesland Gallery Kunsthuis LOOF stand 43. During Aussie October celebrating 400 years since first European Dutch landing and Australia Netherlands relations.

Featuring process drawing paintings from 2013-4

Hinged Edges, 2013, oil, enamel and pencil on canvas, 46 x 41 cm x 2. Private collection, Rotterdam.

Art The Hague 2016, photo Art The Hague

Kunsthuis LOOF booth 43.

Kunsthuis LOOF artists: Jan van der Scheer NL, Stan Van Steendam BE, Terri Brooks AU, Inge Schenke NL, Tjitske Boersma NL

Houzz Australia and New Zealand

Louise Lakier, Creatives at home: Dr Terri Brooks in her backyard shed, Houzz Australia, September 30, 2016.

In August journalist Louise Lakier visited my home studio. The article can be read on line here

Rock, Paper, Scissors

An event hosted by Fanuli, Vogue Living and Flinders Lane Gallery.
Featuring paper scultptural works and paintings by Ruth Levine (studioLEVINE) and Terri Brooks to October 20 at Fanuli, South Yarra.

Waves, 2016, oil, enamel and pencil on canvas, 122 x 153 cm.

Horizontal Contours, 2016, oil, enamel and pencil on canvas, 65 x 60 cm.

Implement, 2016, oil and pigment on paper and cardboard, 57 x 19 x 11 cm.

On the Round, 2016, oil, enamel and pencil on canvas, 35 x 30 x 12 cm.

With White Lines, 2016, oil and enamel on paper and cardboard, 37 x 28 x 17 cm.

Some snaps of the opening and install with works by Ruth Levine and Terri Brooks. Thanks so much everyone. Great night!

L-R Neale Whitaker (Editor-in-Chief Vogue Living), Ruth Levine (studioLEVINE), Fabio Fanuli (Fanuli),
Terri Brooks and Claire Harris (Flinders Lane Gallery)

Panel discussion hosted by Neale Whitaker

The opening is underway....

See: Inside Vogue Living x Fanuli Furniture's exclusive launch in Melbourne here