Terri Brooks

2012-02-10T18:24:00.000-08:00

A dusty black

2012-02-03T10:12:00.000-08:00

Paper Grid, 2012. Oil, and enamel on paper mache, 102x75 cm.

Rising Sun, 2012. Oil, and enamel on paper mache, 94 cm approx.

Nothing is permanent, 2011. Oil, enamel, pigment and PVA on canvas, 43x34 cm. Sold, Melbourne.

2012-01-18T00:58:00.000-08:00

SIX MELBOURNE ARTISTS

Terri Brooks
Robert Doble
Simon Strong
Ruth Howell
Phil Stokes
Annie Hsiao Wen-Wang

January 16 - March 31

Gaffer Gallery

13 Western Street, Sheung Wan, Hong Kong

http://www.gaffer.com.hk

2012-01-11T17:30:00.000-08:00

Spirals, 2012. Oil and enamel on paper mache, 3 x 53 cm approx.

Gaffer Gallery

2011-12-27T16:52:00.000-08:00

Brown and Yellow Combination, 2009.

Current, 2010.

Gaffer Gallery

13 Western Street, Sheung Wan, Hong Kong

http://www.gaffer.com.hk

Fence Layers

2011-12-01T15:23:00.000-08:00

Fence Layers, 2011. Oil and enamel on paper mache, 169 x 37 cm.

Rough around the edges

2011-12-01T15:17:00.000-08:00

Robyn Gordon, 'Rough Around the Edges', Art Propelled, Dec 1, 2011.

AAR

2011-12-01T15:07:00.000-08:00

Phe Luxford, 'Terri Brooks', Australian Art Review, Issue 30, Nov-Dec 2011, p 58-62.

AD China

2011-11-26T15:36:00.000-08:00

Red Direct in situ for Architecture Digest China, December, 2011.

2011-11-09T17:06:00.000-08:00

L-R: White Page, Single White Line, both 2009, oil, enamel and pencil on paper mache, 80 x 60 cm, each. Sold, Sydney.

The River

2011-10-26T02:22:00.000-07:00

October 28 - February 5, 2012

Bundoora Homestead Art Centre

7/27 Snake Gully Drive

Bundoora, Victoria

Website

The River is a cross-cultural contemporary and historic group exhibition featuring artists who have addressed themes associated with Darebin's waterways.

Lemon Tree, very pretty… 2011.

Umbrella, sheets, tea towel, buttons and pins. H: 92, W: 86, D: 22 cm.

Included in the exhibition is Lemon Tree, very pretty..., 2011 and the catalogue essay, Waterways.

Terri Brooks, 'Waterways', The River, Bundoora Homestead Art Centre, October, 2011, p 4-8.

2011-09-23T01:30:00.000-07:00

Stripes (above) and Red Bands, both 2010, and oil and enamel on paper mache, 80x60 cm. Sold, Sydney.

Covering Ground, installation shots

2011-09-21T03:38:00.000-07:00

Dawn Csutoros

Artists L-R: Katherine Boland, Ruth Trotter

Marion Lane

L-R: Katherine Boland, Barbera Kerwin and Terri Brooks

Covering Ground

2011-09-12T03:56:00.000-07:00

Katherine Boland

Terri Brooks

Dawn Csutoros

Barbara Kerwin

Marion Lane

Ruth Trotter

Curated by Dion Johnson

Harris Art Gallery

University of La Verne

California

September 13-October 20, 2011


Black Diagonal, 2011. Oil, enamel, pigment and PVA on canvas, 45x35 cm.

Grey Grid, 2011. Oil, enamel, pigment and PVA on canvas, 122x153 cm.

Artist Statement

In the last little while I have been thinking of Agnes Martin. These works stem from that contemplation. She said that she finally got to the point where her art made no connection with the ‘real world’. But as I walk the city and peruse its structures I see echoes of Martin’s work. I am drawn into a paradox between the often simple order of a decorative facade and the inevitable disorder and imperfection that occurs to a surface over time. ‘Yesterday’s shiny’, becomes the worn and forlorn. Arbitrary surface juxtapositions can weave a random tapestry. It is within this certain/uncertain space that I sometimes find a personable beauty and a reason to paint.

Neapolitan, 2011. Oil, enamel, pigment and PVA on canvas, 127x176 cm, Polyptych.

Harris Gallery

The University of La Verne Harris Art Gallery is pleased to present Covering Ground, a collaboration between six mid-career abstract painters from Los Angeles, CA and Melbourne, Australia.

Barbara Kerwin, Marion Lane, and Ruth Trotter are three Los Angeles based artists who utilize non-objective painting as a mode of pictorial representation and draw conceptual references from landscape, architecture, psychology, and telecast media. Katherine Boland, Terri Brooks and Dawn Csutoros, are three Melbourne based artists who construct abstract paintings based on nature and derive content from materials and process.

Boland’s and Brooks’ work is influenced by the harsh environmental conditions of Australia’s early post-settlement heritage as well as the Process Art and Arte Povera movements. Boland’s use of organic materials such as wood, beeswax, asphaltum and graphite, combined with a process involving the use of ﬁre and hand tools is symbolic, informed by Buddhist thought and observation. By favoring the common materials of house paint and pencils and employing techniques focused on weathering and found marks, Brooks creates rich, physical surfaces that address contemporary landscape abstraction. With a Minimalist approach Csutoros draws parallels between eastern philosophy and quantum mechanics. The use of symbolic matter, such as tea and coal, and the spatial exploration of color, are central to her practice.

Kerwin, whose background is in architecture and sculpture, paints geometric abstractions inspired by the structural urban harmony of Los Angeles. Her layered application of color in acrylic, oil, or encaustic, activates the painting surface unifying form and content. Trotter’s paintings start from drawings based on Rorschach inkblot contours, abstract expressionist patterns and references to modernist history. Her oil on linen paintings, are constructed with luscious impasto smears of color, which evoke organic transitions and structural migrations. Lane creates biomorphic forms and caricatured flora with poured and pushed areas of color and pattern that recall nineteen-ﬁfties suburbia with a hallucinogenic spin. With television as an influence the paintings poke at the charm of Kitsch, while maintaining formal rigor and complexity.

For exhibition catalog or information please contact Dion Johnson djohnson@laverne.edu or 909.593.3511 x 4273

Covering Ground, 2011, Harris Gallery, University of La Verne, California.

The 28 page catalogue with essays by Betty A. Brown (US) and Phe Luxford (AUS) is available at Amazon.

Brown paper packages tied up with string

2011-08-24T03:07:00.000-07:00

Brown paper packages tied up with string, 2011. Oil, string, PVA and pigment on canvas, 2 x 42 x 32 cm.

2011-08-19T21:36:00.000-07:00

Courtney Symes, Melburnin', Trouble Magazine, August 20.

Also at Flinders Lane Gallery, Dr Terri Brooks explores natural mark making via paint and surface textures in her latest exhibition, Over the Edge. Considering herself “a city based landscape artist”, Brooks explains that “the walls and walkways are my hills and valleys. My work is process based but the end result matters. The process is ephemeral, the outcome concrete...” Brooks has the innate ability to create striking, complex works from urban scenes that most of us would find unappealing and overlook as a source of inspiration. The brilliance of her work lies in her skill for finding beauty in the colours, textures and lines of the urban environment, which is often worn and far from pristine perfection. Light Speed and Over the Edge run from 9 – 27 August. - www.flg.com.au

2011-08-17T15:51:00.000-07:00

Installation shots

L-R, The Line Marker, Half Dot, Ribbons

L-R, Weathered Ridges, The Line Marker

L-R, With Black Dot (Sold), Blossom, Red and White Edge, Road Rules (Sold), Black and White (Sold),
Black Dot, White Stripe (Sold), Hazardous Painting (Sold).

2011-08-12T04:26:00.000-07:00

Over the edge

Flinders Lane Gallery

August 9-27, 2011

Image details left to right: Road Rules, Red and White Edge, Black and White,
all oil, enamel, pigment and PVA on canvas, 43x33cm.

Digger, 2011. OIl, enamel, pigment and PVA on canvas, 93x63 cm.

Half Dot, 2011. Oil, enamel, pigment and PVA on canvas, 123x85 cm.

Ribbons, 2011. Oil, enamel, pigment and PVA on canvas, 153x122 cm.

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 and 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 have dominated Terri Brooks practice for the past two decades and continue to inform her work today.

Navigating a territory between material awareness and perceptual sensitivity, Brooks’ practice hinges on the ability to perceive beauty within the decayed. Informed by her observations of the streets around her Northcote studio, Brooks refers to herself as an ‘urban archaeologist’, searching the built world for traces of action and deterioration. The broken edge of a concrete footpath or paint peeling off an overpass railing becomes thrilling subject matter. Reduced to a series of pure forms, textures and lines these visual fragments serve as reference points for her condensed and subtle images.

The impasto applications of her paint hint at an artist delighting in the act of replication. Gleaning her physical surroundings, excavating the fractured and forgotten, Brooks brings to light the incidental poetry of a site. Blackwhite echoes the thick, chalky quality of road boundaries, inspired by watching workmen as they lay down markers outside the local paper mill. Dense white layers are built up and ooze at the seams. Uneven in their application but sure in direction, they expose the act of a brush steadily moving across canvas. Paint spills over the edges to pool and settle like the crust of icing over a cake. A final glaze of pale brown is encrusted within the white, transforming it to an old creamy hue, solid against the black tarry gloss beneath.

Resplendent in blue and white, Northcote pays homage to the Greek heritage of the area and suggests the ramshackle front yards of its inhabitants. Like the faded shade cloths and ever-present concrete slabs found there, the bulk of this canvas, weighed down by so many layers of paint, suggests a corporeal quality that crosses over momentarily into the sculptural.

The refinement of her technique intentionally disrupts any standard readings of the everyday. These works operate within the margins of discrete easel painting and architectural reality. Suspended within each canvas is an intentional exercise in reduction, true to the principles of minimalist practice. The recurring motif of line, laid down in slow and clear sequence, indicates a subtle meditation on labour and the humble truth of the wearing effects of time.

Brooks’ abstraction rejoices in the objective experience and emphasises the procedural nature of painting. By repeating a simple form, reiterating the embodiment of a pattern or gesture, these works in themselves become a moment, an act. A guide to how they have been constructed is embedded in the strata of layers. Akin to the histories of the built environments Brooks references, her paint slowly slips over the edges of the canvas, congealing, shrinking and drying at different rates, gesturing the fragile and residual nature of decay itself.

Essay by Phe Luxford

View exhibition Here

Flinders Lane Gallery

137 Flinders Lane, Melbourne.

www.flg.com.au

2011-08-05T02:13:00.000-07:00

White Bands, 2010. Oil and enamel on canvas, 61x51cm. Sold, Brisbane, 2011.

2011-06-07T20:32:00.000-07:00

Painting Beware, 2011. Oil, enamel, pigment and PVA on canvas, 52x38 cm.

Distill

Katherine Boland
Terri Brooks
June 10-26

Gadfly Gallery

131B Waratah Ave

Dalkeith, 6009, WA, Australia

mail@gadflygallery.com

Sheets, 2011. Oil and enamel on paper mache, 2x59x41 cm.

View exhibition here

To distill, De Stijl, the essence of form
The sublimation of idea
The concrete
Manufacture
Transgress

2011-05-24T14:51:00.000-07:00

With Deep Deep Blue, 2004. Oil and enamel on canvas, 101x137cm. Sold, Sydney, 2011.

Brown and Yellow Combination, 2009, with a sculpture by Rae Bolotin

Gaffer Gallery, Hong Kong.

Rae Bolotin Website

2011-05-11T13:43:00.000-07:00

Dots and Lines and Shapes ... Bibbons and Bobbins and Pins

Black and White, 2011. Oil, enamel, pigment and PVA on canvas, 43x33 cm.

Five Miles from the Sea : Level 17 Artspace

2011-04-19T06:32:00.000-07:00

Curated by Geoff Tolchard

each participating Melbourne based artist has selected a location five miles from the sea...


Lemon Tree, very pretty…. 2011. Umbrella, sheets, tea towel, buttons and pins. H: 92, W: 86, D: 22 cm.

At the geographic point where my street meets the Merri Creek is believed by local Indigenous oral history to be the place where John Batman sealed the Dutigullar Treaty (items traded included knives, scissors, blankets and shirts). It is the only known attempt at a treaty between first Australians and European colonists.

Wurundjeri elder Ian Hunter… said his grandmother Martha Nevin told stories about his great-great-great-

grandfather Jerum-Jerum, one of three senior tribal elders at the treaty signing.

"Nanna pointed out the scar tree and said 'That's where it happened'".

At some stage it is believed a memorial was placed to mark the site.

What is left of the believed memorial plaque found under weeds, December, 2010. Photograph: Terri Brooks

Scar Tree, McLachlan St, Northcote. Image Reproduced from the Port Phillip Pioneers Group Inc. Website.

The Treaty Scar Tree (now fallen), December, 2010. Photograph: Terri Brooks

With kind assistance from local historian Alexander Romanov-Hughes.

N.B.: Title taken from the lyrics of ‘Lemon Tree’, 1962, Peter Paul and Mary.

…Lemon tree very pretty and the lemon flower is sweet

But the fruit of the poor lemon is impossible to eat…

FIVE MILES FROM THE SEA

April 19 - May 13

Level 17 Artspace

Victoria University

17/300 Flinders Street

Melbourne 3000

Five Miles from the Sea Website

Level 17 Artspace Website

Update

The tree has gone, April, 2011. Photograph: Terri Brooks

Julia Irwin, 'History overlooked and overgrown', Northcote Leader, May 4, 2011, News 9.

Julia Irwin, 'History overlooked and overgrown at key Aboriginal site'

Preston Leader, May 7, 2011, Lifestyle, Arts and Entertainment.

Ryan Paul, 'History overlooked and overgrown at key Aboriginal site'

Intertribal Times, Native and Aboriginal news stories from around the globe, May 6, 2011.

McLachlan Street site. Photograph: Adam Elwood.

Excerpt from Press Release

‘The artwork commenced as a replica scar tree but turned into a lemon tree during the construction process. My mother gave me material scraps to use for painting rags. Included was a frayed lemon print tea towel from the 1960s. I subconsciously began singing Peter Paul and Mary’s hit song, Lemon Tree, 1962. The chorus seemed appropriate to me, as a symbol of post settlement history… a bitter fruit. The tree even has gore wasp. I decided to make the tree in a likeness of my childhood Christmas tree. Made by my grandmother, the tree was an open umbrella stripped of its covering with the structural wires wrapped in cotton wool, bound with tinsel and adorned with hand crafted decorations. My grandmother enjoyed improvising, a legacy of living through the Great Depression as a young adult. Is it OK that the scar tree and memorial plaque are in this condition? What is the importance of Indigenous oral history?’ Terri Brooks.

2011-04-16T02:39:00.000-07:00

Thanks Hunters and Gatherers...

'Something Exqusite', Hunters and Gatherers at Home, April 14, 2011.

Paloma at Bondi

2011-03-29T04:16:00.000-07:00


Locale, 2005. Oil, enamel and pencil on canvas, 153x183 cm in situ in apartment at Paloma

Interior Design by RLD

Paloma at Bondi

Articles

2011-02-09T22:13:00.000-08:00

Two recent blog posts featuring my paintings:

'Salesmen and Australians: The Art of the Geometric', Hunters and Gatherers at home

Robyn Gordon, 'The Listeners', Art Propelled

Gina Morris, ‘Self Made Sanctuaries : Creative People in Creative Spaces’, The Age,
February 6, Domain, 1-3.

Gina Morris, ‘Getting in the Zone’, Sydney Morning Herald, February 9, Domain.

Gina Morris, 'Getting in the Zone', The Brisbane Times, February 9, Domain.

Gina Morris, 'Getting in the Zone', WA Today, February 9, Domain.

Thank you

2011-01-26T13:45:00.000-08:00

Recent swap in situ. Mostly White, 2007. Oil and enamel on canvas, 41x31 cm.

2011-01-14T15:23:00.000-08:00

Wet Paint

Jan 4 - Feb 19

Flinders Lane Gallery

www.flg.com.au

2010-11-18T13:25:00.000-08:00

Red Sequence, 2010. Oil, enamel and pencil on canvas, 4 panels, 135x130 cm overall.

2010-10-31T05:07:00.000-07:00

'Forgotten Spaces'

ALAN BATES and TERRI BROOKS

29.10 - 18.11.

Salt Contemporary Art Gallery

33-35 Hesse Street, Queenscliff, Victoria

Blue Lines, 2010. Oil, enamel and pencil on canvas, 122x107cm.

The effects of erosion and weathering are no more apparent than at the sea edge. This group of works attempt to express, using abstract methods, some sense of the Australian space and light while the making reference to the traces of nature and layers of history found etched upon walls and walkways, be it the beauty of weathered paint in the sunlight or glimpses of faded graffiti.

I see my work following in the tradition of Australian lyrical abstractionists including Tony Tuckson, and Ian Fairweather, who I believe painted within the parameters of the Australian tradition to ‘make-do’. Both artists had a preference for ‘everyday materials’ and the aesthetic qualities of their work include anyhow risk taking, unpretentiousness and economy. My personal interest in making-do was cultivated by my maternal grandparents who lived through the Great Depression. Graffiti and ‘anyhow’ maintaining of boundaries in the laneways and industrial sites (the forgotten places), for me, are contemporary manifestations of the tradition to make-do. Unintended or random beauty can occur in these neglected spaces.

Review by Deirdre Carmichael at Artingeelong here

2010-09-07T00:33:00.000-07:00

Weathered Red, 2010. Oil, enamel and pencil on canvas, 137x122 cm.

Tattersall's Club Landscape Art Prize 2010

Art Promotions Queensland

During September, Brisbane, QLD.

2010-08-09T04:15:00.000-07:00

A Portrait of Memories, 2005. Oil and enamel on canvas, 153x183 cm. Sydney Home.

2010 Australian Interior Design Awards

Hare + Klein Interior Design
Colour in Residential Design Award, Hare + Klein Interior Design, Sydney Home,
http://www.interiordesignawards.com.au/gallery/2010/10
Residential Design Commendation, Hare + Klein Interior Design, Sydney Home,
http://www.interiordesignawards.com.au/gallery/2010/7

2010-07-09T20:50:00.000-07:00

Crimson Linear, 2010. Oil and enamel on canvas, 122x101.5 cm.

Grey and Black, 2010. Oil on canvas, 122x91 cm.

A Simple Song, 2010. Oil, enamel and pencil on canvas, 122x84 cm.

A multi-layered allegorical dialogue about history and place ensues while I paint. The gestural genre I work within triggers my memories of 'found marks' observed in the city environment including whitewashed shop windows, scratches left by industry, line marking and traces of graffiti. Gestures are pondered and often submerged according to an aesthetic informed by Australian post-settlement history. The intuitive, cyclical process of paint layering is somehow obliquely synonymous with one key influence; the effects of repetitive weather events upon the built world.

'Beyond the Surface'

TERRI BROOKS

Aptos Cruz Galleries

Mt Barker Road

Stirling, South Australia.

July 8-August 1, 2010.
www.aptoscruz.com

2010-06-26T21:03:00.000-07:00

Current, 2010. Oil, enamel and pencil on canvas, diptych, 107x244 cm.

2010-05-25T01:28:00.000-07:00

FAREWELL SALE

1999-2010

May 29 - June 19

HARRIS COURTIN GALLERY

26 Glenmore Road, Paddington, NSW

2010-05-25T01:08:00.000-07:00

Beige and Grey, 2010. Oil and enamel on canvas, 35.5x28 cm

2010-03-20T02:12:00.000-07:00

Teeming, 2010. Oil and enamel on paper on canvas, 30.5x30.5 cm.

Pilven, Pilven and Brooks

An Exhibition of paintings and ceramics

Stefano's Gallery 25, Mildura

March 19 - April 15, 2010

2010-03-04T05:00:00.000-08:00

Colourful pack-up, 2009. Oil and enamel on paper mache, 143x30 cm. Sold, Sydney, 2011.

Statement: Colourful pack-up, 2009, is a generic urban artefact, or token, based on memories of signage of unknown purpose often found on walls of abandoned industrial spaces.

Williamstown Festival Contemporary Art Prize 2010
Curated by Julie Collins

The Substation, 1 Market Street Newport

March 4-28, Thurs-Sun 10-4pm

www.djprojects.net

2009-11-28T05:22:00.000-08:00

White Open, 2009. Oil, enamel and pencil on canvas, diptych, 204x122 cm. Sold. Melbourne.

Treasures

Flinders Lane Gallery, December 1-19, 2009.

2009-10-27T05:26:00.000-07:00

Layered Newsprint, 2009. Newsprint, material and whiting on two recycled paperblocks, 140x60 cm.

Morte, 2009. Oil, enamel and found egg carton on three paper blocks, 155x60 cm.

Terri Brooks: White Open, University of Ballarat Post Office Gallery, October 22-31, 2009.

2009-07-11T23:35:00.000-07:00

Terri Brooks, Double Linear, 2009. Oil, enamel and pencil on canvas, 153x153 cm.

Terri Brooks, Red Direct, 2009. Oil, enamel and pencil on canvas, 183x122 cm. Sold. Hong Kong.
Terri Brooks, Recent Works, August 20 to September 5, 2009.
Flinders Lane Gallery, 137 Flinders Lane Melbourne. www.flg.com.au

2009-07-03T05:38:00.001-07:00

Terri Brooks, Weave, 2009, Oil, enamel and pencil on canvas, 91x76 cm.
10: 30, Arts Academy Research Graduates 1999-2008
Post Office Gallery, University of Ballarat, July 14-25

2009-05-31T04:31:00.000-07:00

Terri Brooks, Bone and Beige Spontaneous, 2009, oil, enamel and pencil on canvas, 153x91 cm. Sold. Melbourne.

20Plus: the sum of us

Celebrating twenty years of exhibiting Australian art 1989 - 2009 FLINDERS LANE GALLERY

Kunstsammlung Neubrandenburg

2009-05-15T03:54:00.000-07:00

"Zerbrechliche Weite" (fragile vastness) Bernd Kerkin
(Deutschland) und Terri Brooks (Australien)

April 21-June 1, 2009.

www.kunstsammlung-neubrandenburg.de

Top: Bernd Kerkin, Works on Eva Hesse.

Centre: Terri Brooks, Anyhow Sequence.

Base: Kunstsammlung Neubrandenburg, Deutschland.

Terri Brooks, Table Cloth Memories, 2008, 40x30cm, oil and enamel on paper block and Layered Sequence, 2008, 120x40cm, oil and enamel on paper block (two tier) acquired for the Kunstsammlung Neubrandenburg permanent collection. Anyhow Sequence sold to private international collectors.

2008-12-11T03:23:00.001-08:00

Terri Brooks, White Plains, 2007. Oil, enamel and pencil on canvas, diptych, 122x244 cm. Sold. Canberra.

2008-12-07T00:47:00.000-08:00

Terri Brooks, Small Black, 2007. Oil, enamel and pencil on canvas, diptych 107x244 cm. Sold. Adelaide.

2008-12-07T00:43:00.000-08:00

Terri Brooks, Brown and Bone, 2007, diptych, 107x244cm, oil, enamel and pencil on canvas

2008-12-07T00:42:00.001-08:00

Terri Brooks, White Shape, 2007, Oil, enamel and pencil on paper block, 80x60 cm. Sold. Sydney.

2008-12-07T00:38:00.001-08:00

Terri Brooks, Yellow sculptural, 2007. Oil, enamel and pencil on paper block, 108x80 cm.

2008-12-07T00:35:00.000-08:00

Terri Brooks, Dots and Lines, 2007, Oil, enamel and pencil on canvas, 152x122 cm. Sold. Germany.

2008-12-07T00:34:00.001-08:00

Terri Brooks, Small Yellow, 2006. Oil and enamel on canvas, 41x31cm. Sold. Sydney.

2008-12-07T00:32:00.000-08:00

Terri Brooks, Black and white lines, 2006. Oil and enamel on canvas, 61x51 cm. Sold. Sydney.

2008-12-07T00:30:00.000-08:00

Terri Brooks, Small Circles, 2006, Oil and Enamel on canvas, 122x137 cm. Sold. Sydney.

2008-12-07T00:25:00.000-08:00

Terri Brooks, Horizontal Bars, 2005, Oil, enamel and pencil on canvas, 153x153 cm. Sold. Sydney.

2008-12-07T00:20:00.000-08:00

Terri Brooks, Scratches and Patches, 2005. Oil and enamel on canvas, 91x107 cm. Sold. Melbourne.

2008-12-07T00:18:00.000-08:00

Terri Brooks, Zero, 2005. Oil and enamel on canvas, 41x31 cm. Sold. Melbourne.

2008-12-07T00:17:00.000-08:00

Terri Brooks, Red and Black Slab, 2005, Oil and enamel on canvas, 41x31 cm. Sold. Melbourne.

2008-12-07T00:02:00.000-08:00

Terri Brooks, Beige with Black Spots, 2004, Oil and enamel on canvas, 122x153 cm. Sold. Sydney.

2008-12-07T00:00:00.000-08:00

Terri Brooks, White Dots on Black, 2004. Oil and enamel on canvas, 153x183 cm.

2008-12-06T23:58:00.000-08:00

Terri Brooks, Red Squares, 2004. Oil and enamel on canvas, 71x91 cm. Sold. Adelaide.

2008-12-06T23:46:00.000-08:00

Terri Brooks, 2003 Installation, Flinders Lane Gallery, centre: White Book, Oil, enamel and pencil on canvas, 153x183 cm. Sold. Melbourne.

2008-12-06T23:44:00.000-08:00

Terri Brooks, Dispersion, 2003. Oil, enamel and pencil on canvas, 153x183 cm. Sold. Melbourne.

2008-12-06T23:39:00.000-08:00

Terri Brooks, Black Graphis, 2003. Oil, enamel and pencil on canvas, 153x183 cm. Sold. Sydney.

2008-12-06T23:34:00.000-08:00

Terri Brooks, Components, 2002. Oil, Enamel and pencil on canvas, 153x183 cm. Sold. Sydney.

2008-12-06T23:29:00.000-08:00

Terri Brooks, Mainly White, 2001. Oil, enamel and pencil on canvas, 153x183 cm. Sold. Sydney.

2008-12-06T23:26:00.000-08:00

Terri Brooks, Isolation, 1999. Oil, enamel and pencil on canvas, 153x122 cm. Sold. Melbourne.

2008-12-06T23:22:00.000-08:00

Terri Brooks, Infrastructure, 1999. Oil, paper collage and pencil on canvas, 153x101 cm. Sold. Melbourne.