Terri Brooks: 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.

Wendy Kelly – Of Colour and Light essay 2020:

https://westendartspace.com.au/wp-content/uploads/2020/07/Wendy-Kelly-Of-Colour-and-Light-2020-Cat-essay.pdf

The Design Files:

https://thedesignfiles.net/news/west-end-abstract-beinnale/

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.