Terri Brooks: Dirty Filthy Painting

Dirty Filthy Painting

Dirty Filthy Painting

Byron School of Art (BSA) Project Space

112 Dalley Street, Mullumbimby

8 - 20 September
OPENING Friday 8 September 2017, 6-8PM

Curated by Michael and Meredith Cusack

FEATURING WORK BY SALLY ANDERSON, MOSTYN BRAMLEY-MOORE TERRI BROOKS, ROBERT DUNNE (Ire), JULIE FRAGAR,
MILES HALL, BRENT HALLARD, JOSIE KIDD CROWE, FIONA LOWRY, MOYA MCKENNA, PAUL MCNEIL, HELEN O'LEARY (Ire),
DAVID QUINN (Ire), JOHN SMITH

Small Series, Red White Lines, oil and enamel on canvas, 41 x 31 cm.

Small Series, White, Black Lines, oil and enamel on canvas, 41 x 31 cm.

L-R: Terri Brooks, Sally Anderson, Bret Hallard

L-R: Robert Dunne (Ire), Miles Hall

Opening

Since 1989 Terri Brooks has held over twenty solo shows in Australia, New Zealand, Italy and the Netherlands as well as participating in numerous exhibitions including art fairs in the US, UK, Germany, Italy, the Netherlands, Greece, Poland and Hong Kong. Her work is in the Neubrandenburg Museum Collection, Germany, The Macquarie Group Collection, Westpac Bank, many other corporate and private collections around the world. For over ten years her work has been 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 Sheraton Four Points, Sydney.

Line and Weight

'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’. 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.' Anna Dunhill 2019.

Over the Edge

`The neglected zones of urban existence – alley ways, awnings, walls, gutters and shutters – occupy a unique place within the history of painting. Perhaps inadvertently, artists have been depicting such insignificant elements as cracked window ledges or the dark recesses of architraves since the time of Giotto. Ubiquitous, utilitarian and often worn down, the marginal nature of such sites and the phenomenological questions they raise has dominated Terri Brooks practice for the past two decades and continues to inform her work today.' Phe Luxford, 2011.