Tim Brook

Media Arts events


Representative image for White City, Black Shadows

White City, Black Shadows

an exhibition in The Link at Ginninderry, including drawings and embroidery by Ruth Hingston, and photographs and videos by Tim Brook.
White City, Black Shadows (Бели Град, Црне Сенке) is a selection of works by Ruth Hingston and Tim Brook after a three-month residency in Belgrade. The title is a respectful nod to Emir Kusturica’s film Black Cat, White Cat (Црна Мачка, Бели Мачор), which is set in Belgrade.


18 May–19 June 2022
Representative image for Call this moment

Call this moment

a slow evening of poetry and video in the Canberra Museum and Gallery theatrette, including the premier screening of a digital video, Call this moment, by Tim Brook and Owen Bullock that highlights Owen’s contemporary haiku

The video, Call this moment, combines readings of contemporary haiku by Owen Bullock with a slowly evolving digital video by Tim Brook. Spoken words, layered with meaning, interact with layers of images,inviting you to make your own connections. The result is both complex and contemplative.

The evening is all about making connections and allowing your own imagination to fly free.


on Friday 17 December 2021
Representative image for c/o Craft ACT

c/o Craft ACT

an exhibition at CraftACT (an event in the 7th edition of Design Canberra), including Zooming Mindfully, a digital animation by Tim Brook and Ruth Hingston based on embroidery by Ruth Hingston
As Ruth explained:

The Coronavirus pandemic has introduced new ways to retain our connections with each other while we maintain physical distance. Now our social interactions are mediated by the screen. Zoom has become a popular digital platform to keep in touch, to foster our care for one another and maintain our mental health.

My regular Mindfulness meditation group’s practice has been transformed by Zoom this year. Usually we travel to a physical space together at a specific time. Now we Zoom in together from around the country from different time zones. Sometimes it seems absurd that we sit in front of our screens in our separate homes, quietly isolating and logging on to Zoom, so that, as a group, we can close our eyes to meditate mindfully together.

One of our practices is to apply our mindfulness focus on an absorbing activity we enjoy, such as knitting, drawing or sewing. Although we are mostly silent in the presence of others, it seems we are all pleased to see each other, smiling and waving as we arrive and depart. I look forward to Zooming in again next week.


29 October–12 December 2020
Representative image for Nilsson 2020

Nilsson 2020

An artist’s talk at Canberra Glassworks by Peter Nilsson, including a digital video by Tim Brook

Peter Nilsson has had a studio glass career for over thirty years in Sweden and Australia. Inspired by Scandinavian folklore and a fascination of nature, Nilsson’s work examines the fluid boundaries between humans and nature and the fragile relationship they share. Nilsson will discuss the interplay between shape and picture in his latest work as well as techniques that involve expert recycling of discarded glass, laminated and kiln formed glass and enclosed engravings.

Tim’s video documents both his work and his working process.


on Thursday 17 September 2020
Representative image for [dash]topia


A group exhibition in the 2019 Design Canberra festival, including Bad Keys, a code art work by Tim Brook and Caren Florance
Subvert and convert the online hurt

Bad Keys builds on Florance’s research into online misogyny and trolling. This work uses systems of communication to explore ways to subvert and convert the hurt that we often carry around with us after encountering insults and verbal attacks online.

Abstraction is the main strategy: words morph into webs of lines that simultaneously disconnect and connect. This is unloading, not downloading.


6 November–22 November 2019
Representative image for Australia Inland

Australia Inland

an exhibition of straight photography at the Cork Street Gallery: unmanipulated closeups assembled slowly over 25 years
The works reveal a delicacy of detail and a harshness of ground so characteristic of the Australian inland. Many of the images involve paint that is dripping, fading or peeling, but the images remain photographic, not painterly. The patterns were formed by random processes until they were captured in the photographic frame—they were not carefully constructed like the paintings of Pollock and the Abstract Expressionists, so they display quite different surface detail. Every image is a celebration of the unexpected beauty of that Australian icon, the corrugated-iron fence. After all, it is the delicacy of detail and the harshness of ground that is so characteristic of corrugated iron.


11 July–8 September 2019
Representative image for Line Work

Line Work

an exhibition of works by Caren Florance at the Tuggeranong Arts Centre, including Bad Keys, code art works made in collaboration with Tim Brook
Subvert and convert the online hurt

Line Work builds on Florance’s research into online misogyny and trolling. This exhibition uses new and old systems of communication to explore ways to subvert and convert the hurt that we often carry around with us after encountering insults and verbal attacks in person and online.

Abstraction is the main strategy: words morph into webs of lines that simultaneously disconnect and connect. This is unloading, not downloading.


4 July–27 July 2019
Representative image for Australian Landscapes

Australian Landscapes

A digital video installation by Tim Brook and Arne Hanna in Gallery 2 at M16 Artspace, Griffith ACT

Quiet, contemplative and immersive, Australian Landscapes is a digital video installation that invites your imagination. It evokes memories of quiet moments in inland Australia, when you become absorbed in the visual richness of surface details. Very slowly, the work reveals a delicacy of detail and a harshness of ground so characteristic of the Australian inland.


14 June–1 July 2018
Representative image for Trenuci bez naslova

Trenuci bez naslova

A screening at Galerija 42°, Cetinje, Montenegro, of a digital animation by Tim Brook, Ruth Hingston and Alistair Riddell


on Friday 27 April 2018
Representative image for Lucence


Screenings of a series of works by staff and graduates of the ANU School of Art, including Untitled Moments a digital animation by Tim Brook, Ruth Hingston and Alistair Riddell


on Friday 21 April 2017
Representative image for Common Ground

Common Ground

An exhibition of work by members of PhotoAccess, including Propaganda, by Tim Brook
In this exhibition, members of PhotoAccess document and interpret public space through photography. The physical and social dynamics of public space play a central rôle in the formation of community and culture. With this in mind, PhotoAccess invited members to address the theme, Common Ground, through photography and photo-based art.
30 March–23 April 2017
Representative image for Hill End: Seven Decades

Hill End: Seven Decades

an exhibition at Penrith Regional Gallery that traces seventy years of artistic responses to the historic town of Hill End, including A Reflection on Haefliger Cottage by Tim Brook
In August 1947, artists Donald Friend and Russell Drysdale made a trip to explore the former gold rush towns of Sofala and Hill End, NSW. Since then, the historically-charged landscape and remnant architecture of Hill End has continued to inspire artists to re-visit, re-imagine and re-interpret this iconic site.


4 March–21 May 2017
Representative image for Connect with your nature

Connect with your nature

An exhibition at the National Archives of Australia, including Gudgenby, a digital video by Tim Brook
This is an exhibition of work by Ruth Hingston at the National Archives of Australia after a residency at the National Archives and at Gudgenby Ready-Cut Cottage in the Namadgi National Park. The digital video is a poetic documentation of the residency, the work in progress and the final work.


8 April–14 May 2016
Representative image for The Third Wave

The Third Wave

This exhibition celebrates 20 years of the Hill End Artists in Residence Program. It is curated by Sarah Gurich. The works are drawn entirely from Bathurst Regional Art Gallery’s permanent collection, including photography by Tim Brook and sculpture by Ruth Hingston.


1 August–28 September 2014
Representative image for Fire Station

Fire Station

A screening at PhotoAccess, including a multimedia work by Tim Brook and Arne Hanna
Fire Station is a multimedia work based on material at the Canberra Fire Museum. It’s presented as a digital video loop but not as a conventional narrative. Instead, the work uses layers of images and sounds to evoke something of the experiences of our firefighters—a few hints of their sporadic dramas; some suggestion of their daily routines and accumulated memories.


19 February–30 March 2014
Representative image for Shaping Canberra

Shaping Canberra

An exhibition at the ANU School of Art Gallery, Ellery Crescent, Acton ACT, curated by Ruth Hingston for the centenary of Canberra, including Fire Station, a multimedia work by Tim Brook and Arne Hanna

This exhibition highlights the variety and inventiveness of professional artists who live and work in Canberra. It includes works in a wide range of media, from embroidery to digital animation. Each work in the exhibition draws on material from a local collection of cultural material. Each celebrates an aspect of the lives and experiences of real Canberrans, people who have worked, raised families, played sport, made art and created communities, unaffected by the antics of the fly-in-fly-out politicians whose pronouncements are routinely attributed to a mythical ‘Canberra’.


18 September–19 October 2013
Representative image for 100 Views of Canberra

100 Views of Canberra

A book launch and an exhibition of photographs at PhotoAccess, Griffith ACT, celebrating Canberra’s centenary, including Roll This Way a photograph by Tim Brook
1 August–28 August 2013
Representative image for 25th Anniversary Portfolio

25th Anniversary Portfolio

An exhibition curated by David Chalker at PhotoAccess, Griffith ACT, including Rijeka Crnojevića a photograph by Tim Brook
13–30 June 2013
Representative image for Static Display

Static Display

Objects from the Canberra Fire Museum, including a collection of prints and reproductions assembled by Tim Brook and Ruth Hingston


Saturday 15 June 2013
Representative image for Twelve Months

Twelve Months

A group exhibition at The Photography Room, 14 Foster Street, Queanbeyan NSW, including prints by Tim Brook

For several years I’ve photographed partially reflective surfaces (ponds, windows, billabongs, spectacles…). Ambiguities result—not ambiguities constructed but ambiguities revealed—ambiguities that give voice to opposites. Partial reflections reveal both connections and contradictions between opposite viewpoints. And Haefliger Cottage breathes contradictions.

Originally Haefliger Cottage was an unassuming dwelling for a miner; now it bears a heavy load of history. It’s twisted with age. Nothing’s quite square. Nothing quite joins. Time has allowed a liquid flow of glass in the panes of the windows and the bookcase. The thicknesses of glass have become uneven and the panes now distort every view (just a little) and every reflection (just a little more). Reflections on Haefliger’s Cottage is a collection of these views and reflections. All faithful, none true.

Tim Brook 2002
24 November–16 December 2012
Representative image for Observations


An exhibition of photomedia work by Tim Brook, curated by Ruth Hingston, in The Photography Room, upstairs at The Artists Shed, 14 Foster Street, Queanbeyan NSW.


3 August to 2 September 2012
Representative image for Untitled Moments

Untitled Moments

A screening at PhotoAccess, Manuka ACT, of a digital animation by Tim Brook, Ruth Hingston and Alistair Riddell

Slow, quirky and very Canberra, Untitled Moments is a digital animation based on embroidery.

Untitled Moments is a collaborative project exploring the visual impact of embroidery and photography in a digital animation. We’ve used digital technologies to combine images and sound to create narrative fragments—imagined incidents drawn from our observations of Canberra’s most unremarkable moments.

The resulting work does not attempt to mimic cartoons or conventional animations. It’s a pastiche, an idiosyncratic mixture of embroidery, drawing, watercolour, photography, scanography, digital animation, field recordings and digitally generated sounds. The final effect is sometimes contemplative, sometimes deliberately cheesy.


5–29 April 2012
Representative image for Art Machine

Art Machine

An exhibition of code art at the ANU School of Art, Acton ACT, including Rebalanced, a code art work by Tim Brook

Art Machine is an exploration into the boundaries between digital art, code art and new media installation.

What exactly constitutes an artwork—the intent of the artist, the materials used in the production, the mode of presentation, the experience of the viewer? Art Machine aims to explore these notions by staging an exhibition where artistic intent, content, production materials and final presentation of an artwork operate independently of each other and yet combine to create an art experience.

Art Machine will pit locally coded digital art machines against text, images, video and sound submitted by you via Art Machine’s 24/7 online submission system—artmachine.tv.

Art Machine is accepting submissions, so browse to artmachine.tv and contribute your text, image, video and sound—your digital submissions will form the backbone of this unique exhibition and art experience.

Christopher Fulham


7–30 July 2011
Representative image for Noise


An exhibition at PhotoAccess, Griffith ACT, including a digital video by Tim Brook and Paul Kirwan


9 April–8 May 2011
Representative image for Embracing Innovation

Embracing Innovation

An exhibition at CraftACT, Canberra City ACT, including Untitled Moments, a digital animation by Tim Brook, Ruth Hingston and Alistair Riddell


31 March–7 May 2011
Representative image for Enduring Intimacy

Enduring Intimacy

Dance theatre at the National Gallery of Australia, Canberra ACT, including projected videos by Tim Brook and,in the set, oversized embroidered dresses by Ruth Hingston


24–25 November 2008
Representative image for Nije Crna

Nije Crna

An exhibition at PhotoAccess, Griffith ACT as part of Vivid, the national photography festival, including an installation by Ruth Hingston and Tim Brook with Lea Collins


14 June–17 July 2008
Representative image for Рад у Току

Рад у Току

An installation at the Academy of Fine Art, Cetinje, Montenegro


1 November 2007
Representative image for Traces d’un Passage

Traces d’un Passage

An exhibition at «la Genette», 30440 St Roman de Codière, France


October 2006
Representative image for Hill End in Camera

Hill End in Camera

An exhibition of photographs curated by Gavin Wilson at the Hill End Art Gallery, Hill End NSW, including A Reflection on Haefliger’s Cottage №6 by Tim Brook


9 March–10 May 2006
Representative image for Works in Progress

Works in Progress

An artist’s talk at Bathurst Regional Art Gallery, including screenings of Works in Progress, a slide-tape sequence by Tim Brook and Arne Hanna after works by Ruth Hingston
Works in Progress is one result of a Hill End residency—a description of the residency—a description where nothing is spelt out. A slowly evolving sequence of still images, rich and alluring, invites you to make connections and imagine your own stories. It offers hints about some of the things an artist does to arrive at a body of new work.


Saturday 15 October 2005
Representative image for Frames of Reference

Frames of Reference

An exhibition of photographs, curated by Alison Bennett, at Bathurst Regional Art Gallery, including Hill End photographs by Tim Brook
Hill End is a massive work of fiction, a story-telling project spanning generations. It is more than a place—it is a dense web of images, narrative, mythology; a site of contested meaning. Frames of Reference is an exhibition of photographs of Hill End from 1872 to 2005. It features the work of Russell Drysdale, Beaufoy Merlin, and 11 contemporary photographers—Alison Bennett, Tim Brook, Dacchi Dang, Sarah-Mace Dennis, Brett Hilder, Svenja Kratz, Cathy Laudenbach, Heidrun Lohr, Catherine Rogers, Greg Weight and Glenn Woodley.


14 October–27 November 2005
Representative image for Composition & Context

Composition & Context

An exhibition of photographs by John Crossley, curated by Tim Brook, at the CEMA Gallery, Monash University, Clayton VIC, later touring in Victoria and South Australia


20 August–1 October 2004
then touring until March 2005
Representative image for Reflections on Haefliger’s Cottage

Reflections on Haefliger’s Cottage

An exhibition of photographs by Tim Brook at Bathurst Regional Art Gallery
Intriguing details from a historic town—Warped Walls and Reflections on Haefliger’s Cottage are exhibitions of recent work by two visual artists from Canberra. The mixed media works and photographs were inspired by a Hill End residency and represent exciting new directions for both of these artists.


1 August–14 September 2003
Representative image for Hill End Reflections

Hill End Reflections

An exhibition of photographic prints by Tim Brook at Artholes Gallery, 128 Gertrude Street, Fitzroy Vic
These photographs, free from manipulation, are faithful, not true. These reflections, half seen, are hints at Hill End’s myths and lives.


16 August–28 August 2002
Representative image for On the Line

On the Line

An exhibition of works in miscellaneous media at The Booking Office Gallery, Bungendore NSW, including photographs by Tim Brook and mixed media works by Ruth Hingston


27 May–15 July 2001
Representative image for Canberra Dreaming

Canberra Dreaming

Choreographed movement and visual music in the Canberra Festival, performed at The Old Bus Depot Markets, Kingston ACT


16–18 March 2000
Representative image for Small Change

Small Change

A concert of visual music in the Canberra Festival, at the National Film and Sound Archive, Acton ACT, including slide-tape works by Tim Brook
This concert is a thoughtful blend of sound and image. Low tech and alluring, each of the works screened, each little piece, shows how small change can make for greater seeing. Sounds and images are taken from life and gently reshaped. Each work is an invitation to make connections; to imagine; to tell stories. Visual music is for adults whose brains are still alive.


5–7 March 1999
Representative image for Bingo Night

Bingo Night

A concert of audio-visual works at the Australian Centre for The Arts and Technology, Acton ACT, including Lines, a slide-tape piece by Tim Brook and Arne Hanna


Thursday 26 November 1998
Representative image for Beware Dogs Bite

Beware Dogs Bite

Screenings at the the Goldfields Arts Centre, Kalgoorlie WA, including slide-tape pieces by Tim Brook with music by Len Duke and Arne Hanna


on Thursday 24 November 1994
Representative image for The Exhibitionists

The Exhibitionists

An exhibition at the School of Applied Arts and Design, Watson ACT, including Disparately Seeking Illusion, a selection of photographs by Tim Brook
5 May–18 May 1994
Representative image for Newsense


A performance of intermedia art at Strother Theater, Ball State university, USA, including Goyboys, a slide-tape piece by Tim Brook and Dan Senn


Monday 5 September 1988
Representative image for Ghost of a Chance

Ghost of a Chance

Music theatre at Images, Dickson ACT, including a slide-tape piece by Tim Brook and Len Duke
on Friday 13 February 1987
Representative image for Fat Gods, Skinny Gods

Fat Gods, Skinny Gods

A theatrical production at TAU Community Theatre, Braddon ACT, including a slide-tape piece by Tim Brook

Fat Gods, Skinny Gods considers the influence of adult-created myths on young people in the process of finding a balance between fantasy (how life could be) and reality (how it is).

The material for Fat Gods, Skinny Gods was developed from many weeks of group discussion and workshopping. It was my task to find the appropriate images and language to express what was often an emotional feeling of the individuals or group.

In so doing, I did not attempt to dilute these emotions. What is presented intends to reflect what very often is a ploy (unintentional or not?) by society to deceive us into believing that a brighter tomorrow can be bought on a time plan.

Fat Gods, Skinny Gods is presented as a piece of symbolic, hopefully provocative, theatre—interweaving a well-known fairy story with contemporary reality. Like the majority of our productions at TAU, it is an original, group-devised work, which is developed from a long and demanding workshop process involving considerable risk.

We hope you find the performance stimulating.

Domenic Mico

24 June–29 June 1985
Representative image for Forest of Gods

Forest of Gods

A theatrical production at TAU Community Theatre, Braddon ACT, including a slide-tape work by Tim Brook
14–17 November 1984
Representative image for Seymour concert

Seymour concert

A concert of electronic and multimedia arts in the Everest Theatre at the Seymour Centre, Sydney NSW, including About Time!, a slide-tape work by Tim Brook and Adrian Keenan


Friday 29 May 1981