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.


'Principia'
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: www.flg.com.au/exhibitions/principia


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






Houzz.com


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




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



Paper 5









Pink Boy, Blue Girl, 2015, oil and enamel on paper and wire, 58 x 36 cm x 2.

Paper 5, group exhibition in Bundaberg, Queensland, curated by Clinton Cross

An annual exhibition of works on Paper by established Australian and International Artists.
Yvonne Boag, Graham Blondel, Wendy Sharpe, Selwyn Rodda, Terri Brooks, Bernadette Trela, Kim Demuth, Lorna Crane, Shane Drinkwater, Marlene Sarroff, Louise Tuckwell, Henri van Noordenburg, Diane Scott, Marlies Oakley, Jennifer McDuff, Christine Turner, Ryan Nazzari, Rod Bunter, Clinton Cross, Jay Feather.


Paper 5 opens! Congratulations Clinton! Photo: Creative Regions Ltd. Bundaberg QLD.

Worth checking out this You Tube of the show... 



New York Men's Fashion Week


Cadet with Vertical Marks in NSS Magazine

New York Men's Fashion Week, 'From runway to moodboard', NSS Magazine, cover feature, July 15. Visit the magazine article here


Daily Telegraph


Home Section, Daily Telegraph
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The Melbourne House


Dusty Pink, 2006. Oil, enamel and pencil on canvas, 153 x 153 cm.

Dusty Pink, 2006, in The Melbourne House foyer, stunning interior design by Greg Natale, on the cover of the Home section, Daily Telegraph, Sydney, Sunday, July 3. Thanks Greg Natale and Flinders Lane Gallery.




Vogue Living


Chris Pearson, House Tour: Sophisticated beachside Sydney Home, Vogue Living








Congratulations to Hare + Klein and thank you too, artduo art consultants. I'm pleased to have been part of this project with two works, Grey Lines, 2014, and Pencil Lines, 2013. The house is beautiful throughout. Click here to view the entire project.


Of Colour and Light



‘Of Colour and Light, Abstraction in Victoria’ 

Curated by Anna Prifti

Louise Blyton, Susie Leahy, Sue Beyer, Terri Brooks, Melinda Schawel,
 Christine Healy, Agneta Ekholm, Wilma Tobacco, Kerrie Warren,
Anna Prifti, Vanessa Oter, Emma Langridge and Merryn Trevethan.


Opening Sat 11 June, 3 - 6pm @ YSG
Guest speaker: Charles Nodrum

Dates: 9 June - 18 July 2016
Yarra Sculpture Gallery 117 Vere St, Abbotsford







Cadmium Red Edge, 2013,oil, enamel and pencil on canvas, 122 x 84 cm.


Horizontal Lines, 2013, oil and enamel on paper, 91 x 66 cm.


Selected shots of the opening and installation


Artist Group Shot


Curator Anna Prifti and her work


Guest speaker Charles Nodrum


Terri Brooks


Terri Brooks


Louise Blyton


Emma Langridge


Susie Leahy


Merryn Trevethan