Terri Brooks: Biennale of Reductive and Non Objective Art

Biennale of Reductive and Non Objective Art

An independent biennale of contemporary reductive arts to be held in assoc with the CNOA Biennale of Grenoble. The event takes place in three cities, Kyiv, Grenoble and Sydney. Over 120 artists from abroad nationally and locally presenting in Sydney. Please come and celebrate what is also the opening of a new venue for the arts and community use in Parramatta, located in a warehouse behind Parramatta Goal. Opens from 1pm to 5pm sat Oct 19.

Opening this Friday at The Stores building and then Fri and Sat from 1 to 5pm weekly.

Entry is free. See The Stores Building on FB for more information.

RNOP Road Paintings at the Biennale, Top Steven Baris, photo Marlene Sarroff

RNOP Road Paintings at the Biennale, photo Dani Marti

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.