Terri Bird is an artist and writer who works as a Lecturer in the Department of Fine Arts at Monash University.

Terri's research focuses on sculptural practices that connect art's material operations to matter's potential force and dynamics. This project owes a debt to the rethinking of material relations that has been a focus of feminist philosophers seeking to problematize understandings of matter outside its customary associations with form, content and meaning.

Her works have been included in the Adelaide Biennial of Australian Art, 1994, Signs of Life, 1999 and Skinned, 2004. Since 2002 Terri has worked collaboratively with Bianca Hester and Scott Mitchell as OSW (Open Spatial Workshop), winners of the inaugural Melbourne Prize for Urban Sculpture in 2005. In 2017 OSW exhibited Converging in time, at MUMA, exploring the connections between materiality, the shaping of territories and the various politics inscribed in place. This was framed through their research into the Natural Sciences Collection at Museum Victoria, employing specific specimens to explore entanglements between geology, geography, colonisation, resource extraction and philosophical thought. 

In 2009 OSW organised the West Brunswick Sculpture Triennial, a multifaceted event exploring the interrelated potential that connects the generation and presentation of art practices. An interest in experimenting with the conditions of art's production and presentation motivates Terri's involvement in artist-initiated activities, such as CLUBSproject which is the focus of a forthcoming publication developed with Spiros Panigirakis and Bianca Hester.

Terri has also published a number of essays including ‘Forming’, in Practising with Deleuze: Design, Dance, Art, Writing, Philosophy, Attiwill, Bird, Eckersley et al., 2017; ‘Registering Surfaces, Excavating Inheritances’, Deleuze Studies Journal, 10.4, 2016; ‘Figuring Materiality’, Angelaki, 16, 2011; ‘Exhibiting Practices & Organizational Relations’, in Making Space edited by Din Heagney 2007.