Born in the UK he was educated in Bath and majored in Art and Art history and History of Building. At 21 he acquired his first Rolleiflex 6 x 6 film camera and never looked back.
He has had numerous exhibitions, both solo and joint and has been exhibited by invitation in the UK and USA. Brooks holds 9 International Awards for his work in the last four years.
His printmaking ranges from large photomontages of altered landscapes to abstract creations from his own sources producing surreal or imagined landscapes in addition to traditional Fine Art Images.
He says “Any artform is a personal matter of taste and the interaction of the viewer with the subject matter. My years of study of architectural form have shaped my perception of this subject.”
The artist has travelled extensively around the world since an early age. Consequently the many cultures and varieties of landscape have influenced his view of the world.
He has been particularly inspired by the work of Callahan and Joel Meyerowitz and the painter Andrew Wyeth.
Over the last five years his work has been created using both digital cameras and film cameras of medium and large format.
Many of my landscapes are studies of the scale and depth of the view before me. These focus upon creating the impression of distance between a near object and the horizon without inclining the camera towards the ground with a wide angle lens as is often seen. Using a normal lens with a large depth of field the image captures the large spatiality of what is before me and draws the attention of the observer to the shape, colour and texture of the subject. I look for geometrical areas which are parallel to each other and which are in contrast also. So a fence or wall near with field, beach or desert in the middle-ground with sea and or sky at the furthermost point.
My other great interest is in structures. I have a closeness with the structures that I explore and I sense that the host structure or the fabric of a building oozes energy from their interior and 'muscular' forms. The glass or masonry covered form is merely an envelope locked onto the strength of the internal skeleton. Within that skeleton exists the everyday function of that structure whether it be domestic, social, industrial or other occupation. That occupation or use is the interior energy of the structure in which I am interested, and is what I am trying to express visually within my work. Whilst the scale and impact varies from striking to subtle (sometimes only visible upon a double take), I relish the opportunity to let a building 'feed' the form, as if the interior of the building is “exhaling into the work."