I have chosen to construct work using a reduced or minimal palette and brush work. I am interested in duality and use opposite elements including black, white, dot and line and horizontals and verticals. Line has always mattered and varies by brush weight or pressure and speed and transgressions from the true horizontal and vertical of the picture plain. The meaning of my work lies in the methodology and my choice of materials particularly evident in my painterly patterning and the employment of economy and directness intrinsic to the Australian tradition to ‘make do’. Natural environmental processes including weathering, architectural details and ‘found marks’ observed on surfaces in the city also inform the work. Each step of my painting process is intuitive and repetitive until the work is imbued with a sense of harmony and balance; a striving for ‘nonduality'.
Terri completed her first degree, B.A. Fine Art, at RMIT University, 1987, and in 2010, as a research scholarship recipient, graduated with a Doctor of Philosophy from the University of Ballarat. Since 1989 she has held over twenty solo shows in Australia and Europe and participated in numerous exhibitions including art fairs in the America, England, Germany, Italy, Greece, the Netherlands, Poland and Hong Kong. She has been selected as a finalist in many art prizes including the Fleurieu Art Prize, The Kedumba Invitation Drawing Award and the Alice Prize. She has been awarded a BP Acquisitive Award and an Australia Council Grant. Her work is in the Neubrandenburg Museum Collection, Germany, The Macquarie Group Collection, Westpac Bank, many other corporate collections and private collections including Australia, Britain, Netherlands, Italy, America, China, Germany, United Arab Eremites and Greece. For over ten years her work has been incorporated into projects by leading interior designers and architects for exclusive and award winning interiors. In 2018 she completed two major commissions for the Westin, Perth and Four Points by Sheraton, Central Park, Sydney. Brooks is represented in Australia, England and China.
Tacit Galleries, Melbourne 2019
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To explain the recent Westin Perth commission Brooks wrote: ‘Veiled Dots and Lines, 2018, was developed over months from repetitive intuitive layering and wiping back all but essential pencil and paint marks. The final piece references no place or time over than its own, as one might ponder the remnants of ancient markings in the landscape or what is revealed by peeling paint from a city wall.’
'Marked by Time' excerpt, 2003, Andrea Lloyd and Kevin Brophy
In her childhood Terri Brooks was fascinated by the wallpaper in her bedroom which was browned, stained, spotted – marked by time. Sometimes she added her own marks to the outside walls of her home, blending them with the traces of age, working with the beauty of neglect. Her grandfather, a part-time house painter, gave Terri the task of cleaning his brushes against the corrugated iron wall of his backyard shed. Entranced by thinned paints and rusted iron in the sunlight, this wall became an ongoing painting for her.
The first large all white field painting was completed in 1987 as an under graduate. Inspired by the work of Antoni Tapies who referenced walls in his paintings (often for spiritual reasons – including the contemplation of a void). Titled ‘My Grandfather’s wall’, it was based on my childhood memory of our shed where I often played after school. My references then were the light linear works of American artist Mark Tobey and Alberto Giacometti. It was not until the mid-1990s that I discovered the works of Cy Twombly who himself was influenced by Giacometti’s paintings and sculpture.
Veiled Dots and Lines, 2018, oil, enamel and pencil on canvas, 280 x 180 cm.
My Grandfather's Wall, 1987.
My primary school was close to the Aboriginal Advancement League and we sometimes had interstate students staying for short periods. At school we learnt about the Dreamtime and Aboriginal art. It was the 1960s and our school had a dedicated art room. The art teacher educated me in abstract art as I had shown a particular interest. I had a wonderful relationship with my art teacher and by the time I was in fifth grade British artist Bridget Riley was my favourite artist. Then she was at the peak of her fame. My teacher gave me large sheets of paper and materials to take home so I could work, often doing fine wavy line work in a similar style to her black and white optical paintings.