The Local Project


Regency 2018, oil on canvas, 122 x 183 cm, with Flinders Lane Gallery.








The Local Project, 'Utter Simplicity - House at Flat Rock by Billy Maynard', Issue 7, 2021.

6th biennale of international non objective art

Que des femmes/Only women
Melbourne virtual satellite 'The home show'
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November
Curated by Terri Brooks and Louise Blyton
International curator Billy Gruner
Bienniale Curator Roland Orepuk



Rose Moxham (qld),  Marlene Sarroff (nsw),  Suzan Shutan (us),  Louise Gresswell
Irene Barberis,  Jennifer Joseph,  Wilma Tabacco,  Louise Blyton,  Karen Schifano (us)
Anna Caione,  Emma Langridge,  Suzie Idiens (nsw),  Susan Buret (nsw)
Bogumila Strojna (fr),  Danielle Lescot (fr),  Connie Goldman (us),  Sarah Robson (nsw)
Munira Naqui (us), Wendy Kelly,  Terri Brooks



When Kazimir Malevich exhibited the revolutionary painting ‘Black Square’ circa 1915, he transformed Modernism. Malevich said of the painting ‘the experience of pure non-objectivity in the white emptiness of a liberated nothing’.

A century on from the genesis of non-objectivity and concrete art within Western Art there has been a succession of relative movements in Modernism, some of which are Suprematism, Constructivism, De Stijl, Bauhaus, ZERO, Arte Povera, Op Art, Minimalism, Hard Edge Painting, Process Art and Neo-Geo.

Coinciding with the Women’s Liberation Movement gaining traction in the 1960s a few non-male artists such as Agnes Martin, Anne Truitt, Jo Baer and Bridget Riley gained major recognition within ‘Abstraction’. ‘Que des femmes’/Only Women, is the 6th Biennale of Non Objective Art and is dedicated to the work of women. The premier exhibition is in France, with satellites, including this Melbourne edition.

The history of Western Art is by and large a male artist history.

Today women artists are free to invent their own histories.








Artists work L-R: Anna Caione, Irene Barberis, Rose Moxham, Connie Goldman, Susan Buret,
Bogumila Strojna, Suzie Idiens,  Emma Langridge, Suzan Shutan, Sarah Robson,
Marlene Sarroff, Terri Brooks, Karen Schifano, Louise Gresswell, Louise Blyton,
Danielle Lescot, Wilma Tabacco, Munira Naqui, Wendy Kelly, Jennifer Joseph.

Clement Meadmore chorded chair, c1952, courtesy of Anna Caione.
Photography Louise Blyton.
Jennifer Joseph represented by Niagara Galleries Melbourne.



Kazimir Malevich exhibition 1915





The Home show interiors


Terri Brooks, White Paint, 2021,
oil on paper, 27 x 20 x 12 cm. (ceramics Kris Coad.



Louise Blyton, X, 2021,
acrylic on linen on wood, 31 x 31 cm.




Art Thoughts AU link to all interiors:




Yarra Bend Gallery exteriors



Anna Caione, La Mamma Disperso, 2020,
mixed media, acrylic paint, 40 x 12 cm.



Sarah Robson, Unfolding geometries (shirt grid), 2018,
cotton shirt, 50 x 25 cm. Pinned to the wall.



Art Thoughts AU link to all exteriors:




6th international biennale of non objective art

Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November



Terri Brooks and Amanda Ryan at the opening of Direction Now,
Town Hall Gallery, Melbourne 2014.



I created Art Thoughts AU in 2008 as an educational resource and record of Abstract art in Australia. At the time I was nearing the completion of my PhD.

Later during 2013-5 I project managed the national touring abstraction exhibition Direction Now. So it gives me great pleasure to host and co curate the Melbourne satellite of the 6th Biennale of Non Objective Art with Louise Blyton.

‘Terri Brooks has held over twenty five solo exhibitions and has participated in shows in public, university, commercial and artist runs spaces including art fairs nationally and in the United States, United Kingdom, The Netherlands, Italy, Germany, China, New Zealand, Poland and Greece.

Brooks is currently represented by Flinders Lane Gallery and Linton and Kay Galleries in Australia and Richeldis Fine Art in the United Kingdom.’ 



L-R Hinged Edges, Veiled Black Dots and Black Square, Direction Now, Caboolture Regional Art Gallery, Qld, 2015.


Terri Brooks and Tracey Lamb

Opening August 14 at 1 pm
Cross Gallery Bundaberg QLD





Thirteen paper works exhibited for the first time including:


White Square, 2018, oil on paper, 30 x 30 cm. Sold prior to opening.



White Diagonal, 2019, oil on paper, 28 x 22 x 10 cm.



Hessian Stripes, 2020, oil on paper, 35 x 30 x 10 cm.



Brown White Black, 2020, oil on paper, 35 x 30 x 10 cm x 2 (Diptych)
  


Red Line Square Box, 2020, oil on canvas, 24 x 22 x 17 cm.



Installation view



MUGA

Museum Galerie Heerenveen
3
Terri Brooks
Kees de Vries
Harmen van der Tuin

10 JULI T/M 22 AUGUSTUS 2021

Gallery MUGA cordially invites you and your friends to the start of the exhibition 3 artists
Saturday 10 July from 13.00-17.00.

Tuesday to Friday from 11 am to 5 pm, Saturday and Sunday from 13.00-17.00


Museum Heerenveen
11 Minckelersstraat
8442 CE Heerenveen, NL



Terri Brooks, Line Crunch 2, oil and enamel on paper, 40x30 cm.



Kees de Vries, Zoutsculptuur, salt with acid and so 2 zeezout afm, 60x60 cm.



Harmen van der Tuin, Opaal Afmeting,123,6 x 200 x 14 cm. Gemengde techniek.




Some install shots 
















Jurjen K. VanderHoek, 'ZERO to Downunder', Tumblr, August.











Orbit

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.




Gems

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.
T




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: