Toni Warburton
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Collaborative Projects – Sharawadgi Hall

by admin | Jul 1, 2020 | Collaborative Projects | 0 comments

Sharawadgi Hall

Toni Warburton

toniwarburtonartist
some variations in blue and white. I do like to some variations in blue and white. I do like to paint patterns on on slightly irregular bisk fired things, letting the pigment charged sable brush flow over the brtltle, yet absorbant, finger printed terrain. Work in progress: a dozen demitasses and saucers - for 34 degrees south @artistsoftheroundyard #decorative art #differenceandrepetition #blueandwhite. #studiopottery #gundungurracountry #handmadedemitasses #wip #34degreessouith #patterns
Glazed demitasses for '34 degrees South' with @ar Glazed demitasses for '34 degrees South' with @artistsoftheroundyard 27,March - 4th May att Retford Park a property of the National Trust. #gundungurracpuntry #blueandwhitecuos #handmadedemitasses @australianceramics #contemporaryceramics #participatoryobjects
demitasse saucers dry in the sun. #wip #34degreess demitasse saucers dry in the sun. #wip #34degreessouth #handmadesaucers #gundungurracountry .
Painting glaze on glaze on 'vessel for the troposp Painting glaze on glaze on 'vessel for the troposphere (III)' upcoming show 34 degrees south with @artistsoftheroundyard at Retford Park, a property of the National Trust. See link in bio. #vesselforthetroposphere #glazeonglaze #gundungurracountry #handmadevessel #cloudmotifs
Hand pinched demitasses in progress for '34 degree Hand pinched demitasses in progress for '34 degrees south' -antclockwise from the white pedestal: leather hard sgraffito (my fave bamboo tool) bone dry, waiting for bisque firing, painted with glaze ready for glost firing. Just eleven saucers to go.... '34 degrees south' is the upcoming Autumn exhibition (see link in bio) for our local contemporary art collective, 'Artists of the Round Yard', based at Retford Park in Bowral (James Fairfax donated Retford Park to the National Trust in 2016) It is walking distance from Ngunungulla, the Bowral Regional Art Gallery. @artistsoftheroundyard #retfordpark #topologicalinvestigations #studioceramics #sgraffito #blueandwhite #handmadedemitasse #34degreessouth
Remembering my talented grandmother, Ethel Warburt Remembering my talented grandmother, Ethel Warburton who particularly inspired the women her family. 'Luv' as my grandfather called her did not live to see her work published in the context of all the 'trail blazer' Australian ceramists, so many of whom are women, included in this beautifully designed and very well researched book. #internationalwomensday2025 #australianartpottery1900-1950 #ethelwarburton @australianceramics #australianstudiopottery #australianchinapainting
Woodfired jar by Yuri Wiedenhoffer, from the vaser Woodfired jar by Yuri Wiedenhoffer, from the vaserium. Dhalia season. #yuriwiedenhoferceramics #yurwiedenhofer #dhaliaseason #woodfiredjar #vaserium
Since relocating my ceramics studio to the site of Since relocating my ceramics studio to the site of an old school, I have been doing quite a lot of gardening. Here is my 'Chaos garden,' an oval bed, fenced to protect plants from kangaroos, feral rabbits and feral deer. A place to experiment with cuttings, seeds, rescue plants and plants gifted from friends and neighbours, the 'Chaos garden' is a 'yardwork' style of garden, dotted with sculptures left behind by students and odd things I have made. Once fallow ground on the site of wood chopping events held at school fetes, the soil now gradually improves as plants take hold. Mostly the gardening here involves caring for and augmenting European shrubs, trees and bulbs and Australian native plants in garden beds planted over many years by mysterious personages connected to Sutton Forest Public School (est 1879). Occasionally I post about this gardening on @sharawadgi_hall a feed I share with my husband, @chris._ward #chaosgarden #gundungurracountry
Mariza! Fardo! Silver lame! Band! Accordion! Acous Mariza! Fardo! Silver lame! Band! Accordion! Acoustic guitar! Portugese guitar! Electric base guitar! Drums!Mike! Rhythm! Voice! Emotion! Accoustic! Audience roar! Full concert Hall! Sydney Opera House! She said this is the LOVE tour! #gadigalcountry #fardo @marizaoficial #sydneyoperahouse
Artist Profile magazine publishes texts in support Artist Profile magazine publishes texts in support of artist Khaled Sabsabi and curator Michael Dagostino as the team chosen to represent Australia at the Venice Biennale 2025. Posted @withregram • @artistprofile Ten Curators in support of Khaled Sabsabi: Edition 2 Artist Profile will be publishing ten pieces of text from international and local curators as a series of editions. These distinguished curators provided their words voluntarily in support of Khaled Sabsabi and curator Michael Dagostino after Creative Australia “honoured Khaled and dishonoured him” (Simryn Gill, 7.30 Report) in less than a week of announcing Sabsabi and Dagostino as the 2026 Venice Biennale team to represent Australia. The call for the reinstatement of Sabsabi and Dagostino has been loud and strong from within the visual arts community here and abroad. The curators in support of Sabsabi have previously written on and curated his artwork. Edition 2 is written by Catherine de Zegher, a Belgian curator, a modern and contemporary art historian. In 2012 de Zegher was co-artistic director with Gerald McMaster of the Biennale of Sydney where they invited Sabsabi to contribute three works. Kon Gouriotis, Editor Follow the link in our bio to read Edition 2. Image: Khaled Sabsabi, Airland, 2011, eight-channel HD video, audio, four-minutes, variable size (installation detail), courtesy of Museum of Contemporary Australia. Courtesy of the artist
From glass jars of water on a table, one at a time From glass jars of water on a table, one at a time, the special roses are named or queried, then passed from hand to hand to each of the members of the heritage rose society as they sit around a shaded grove in a garden in Berrima for their 'show and tell' The stage at Imaginata Puppet Museum and performance space in Sutton Forest is swept by the cleaning lady from di_fillipo_ marionette company. The Empire Cinema in Bowral screens an inspired Baroque music collaboration between Richard Tognetti, the Australian Chamber Orchestra, Joseph Tawadros and James Tawadros. Gratitude for the creativity of plantspeople, artists composers and musicians sharing their inspiration on Gundungurra country last weekend. @imaginata #gundungurra country #heritagerosesociety
Coastal storm flotsam. Wonderful sea sponges. Each Coastal storm flotsam. Wonderful sea sponges. Each sponge is a multicelled organism of the animal kingdom. #seasponges #yuincountry #gundungurra country
Superb image of a superb work by rhe eminent Betty Superb image of a superb work by rhe eminent Betty Woodman. Thanks to Glenn Adamson for hus marvelous coverage of significant contemporary craft . Posted @withregram • @glenn_adamson Some terrific things coming up in today’s ceramics auction at Rago, including this beautiful work by Betty Woodman - “Madras Pitcher,” 1988. The sale will benefit the artists’ residency in the Woodmans’ former home in Antella, Italy. @ragoauctions #bettywoodman @woodmanartistresidency
As a 'chance witness,' in the space of an hour on As a 'chance witness,' in the space of an hour on Friday, whilst i kept returning to Vilma Bader's 'embassy for love', my peripheral vision and auditary fields encountered spontaneous ebbs and flows of deconstruction, performance, composition, passages of chaos, interventions, rearrangements, call and response, observation collaboration, construction, reconstruction, generative, critical creativity, material engagements, improvised performance, durational collaborations, adaptive re installation, conversations. Gratitude to all the artists involved in 'Ineffable an open group process' at Balmain Town Hall. Final today ( Sat 22 Feb 2-7pm) FYI Here is the project info. Invitation to drop in as a 'chance witness' INEFFABLE - an open group process INEFFABLE is the project title for a two week research and engagement residency in January and February 2025. Nine artists are using the space of Balmain Town Hall as the receptacle, merging disciplines whilst each undertaking separate activities. It is a kind of open studio as much as it is an improvisation. There is no presentation, outcome or performance intended, so this invitation is to witness process, through chance and what you choose to focus on. Drop-in times: February 2025 2-5pm: Tues 18, Weds 19, Thurs 20 2-7pm Fri 21, Sat 22 Balmain Town Hall (and surrounding public space) 370 Darling St, Balmain NSW 2041 You are invited to any of the above sessions, time-windows into how a group of artists from different disciplines and approaches attempt ways to disrupt their creative processes. You are free to choose where you sit, place and move yourself in the space and may arrive and leave as you wish. (Please contact one of the artists if you need to arrange a different time.) There will be a book for you to note, mark or draw your responses, observations and associative thoughts or images. The artists include: Alan Schacher, Christine Simpson, Daniel Lopez Lomeli, Hirofumi Uchino, Josh Shipton, Linden Braye, Margaret Roberts, Vilma Bader, Weizen Ho.
I support this well crafted statement from ANAT th I support this well crafted statement from ANAT that calls on Creative Australia to reinstate Sabsabi and Dagostino as the selected Venice Biennale team and urges the Australian Government to reaffirm its commitment to arms-length funding for the arts. Posted @withregram • @anat_australia ANAT statement in support of artist Khaled Sabsabi ANAT and its Board are deeply disappointed and concerned by Creative Australia’s decision to withdraw support for the selected Venice Biennale team of artist Khaled Sabsabi and curator Michael Dagostino. This politically driven intervention, fueled by misrepresentation, compromises the integrity of independent arts funding and undermines the vital role of artists in fostering critical dialogue and public discourse. Creative Australia’s statement and abrupt dismissal of Sabsabi and Dagostino, executed hastily, without due diligence, consultation, or dialogue sends an alarming signal that our national arts agency lacks integrity in decision-making and processes and recoils from its role of championing the arts, at the very time when artists should be backed. ANAT calls on Creative Australia to reinstate Sabsabi and Dagostino, provide transparency around this decision and urges the Australian Government to reaffirm its commitment to arms-length funding. The arts must remain independent. Anything less threatens the integrity and future of our sector. Image: Artist Khaled Sabsabi (right) and curator Michael Dagostino (left). Photograph Anna Kucera @annakucera.au #venice_biennale @creative.australia #art #khaledsabsabi @peacefender #australian_art
i am in solidarity with Khaled Sabsabi and Michael i am in solidarity with Khaled Sabsabi and Michael Dagostino and their selection with acclaim to represent Australia at the 61st Venice Bienale and i am against the unaccaptable renig of this by so-called 'Creative Australia.' To quote Sabsabi and Dagostino: "Art should not be censored as artists reflect the times they live in." Gratitude to @thecrossartprojects for creating the content for this repost. Posted @withregram • @thecrossartprojects Just a week ago artist Khaled Sabsabi and curator Michael Dagostino were selected with acclaim to represent Australia at the 61st Venice Biennale. It took a few days to find a reason to disqualify Lebanese-born Khaled Sabsabi. Creative Australia announced their unanimous VETO decision yesterday, saying “the 2026 selection outcome poses an unacceptable risk to public support for Australia’s artistic community”. The decision followed distorted claims made in Parliament this week. Sabsabi, whose family fled Lebanon in 1978 following the outbreak of civil war, frequently uses video installations and other immersive media works to address themes related to human collectiveness, cultural identity, and political ideology. His work often grapples with Western views of Arab identity and reappropriates news documentary footage of reporting on the Middle East. Sabsabi’s work has already been seen in several major international biennials. Sabsabi and Dagostino told the New York based Hyperallergic: “We intended to present a transformational work in Venice, an experience that would unite all audiences in an open and safe shared space. This reflects and builds on the work we have done for decades and will do for many more. Art should not be censored as artists reflect the times they live in.” Sabsabi and Dagostino told Hyperallergic. “We also believe that, despite this decision, the Australian art world will not dim and or be silent.” The duo said they’re still committed to presenting their work on a global platform and will “seek community support to make this happen.” We stand with them. Art should not be censored. Image: Artist Khaled Sabsabi (left) and curator Michael Dagostino. Photo: Anna Kucera for Creative Australia.
cloud vessel for the troposphere 2024. ceramic H1 cloud vessel for the troposphere 2024. ceramic H130mm x W120mm x L180mm Artist, educator and curator Slavica Zivkovic @slavicazivkovic.artist , then Sturt Gallery manager, curated 'Terra Nova' (2023) a wonderful exhibition that celebrated the diverse art and craft of ceramics and included my 'cloud cups' and 'challice for the troposphere'. Through my ongoing process of free modelling clay, new forms emerge and this 'cloud vessel for the troposphere' was the next to take shape. It is the first to be glazed of three vessels that I made after Terra Nova. They are destined for 34 Degrees South, the upcoming @artistsoftheroundyard Autumn exhibition at Retford Park, curated by participating painters, Marlena Murray @halcyon2858 and Susan Heslin @susanheslin Slavica Zivkovic will also be one of our ARY exhibiting artists, along with @helen_oprey_artist @brock_sykes_1 @rumpfrobyn @tracyhopkirkjewellery @leanneboothart Note: I was disappointed to discover that the @sturtgalleryandstudios Sturt website now appears to have no visual archive of the fantastic range of exhibitions in contempoary craft media such as fibre, textiles, clay, metal, that were held in the now defunct Sturt Gallery over many years. Wood appears to be the only medium now documented, except for the Sturt permanent collection. @sturtfriends #topologicalinvestigations #contemporaryceramics @australianceramics #retfordpark #cloudvesselforthetroposphere #handmadecup
All in the fanily, a rather special Saturday lunch All in the fanily, a rather special Saturday lunch. My nephew by marriage, @cooperdickson a creative, entrepreneurial head chef has recently opened 'the Clareville' restaurant in the Northern Beaches suburb of Clareville on the shore of Pittwater Bay. Delectable tasters, served on hand made ceramic dishes by Cooper's father, the potter, Lex Dickson and dinner and share plates by Daniel J Mulligan @chef_vs_clay were followed by piquant entrees, generous main courses and 'must try' deserts. A mysterious, strange and memorable desert appeared that I shall refer to as 'Queen of the night' : icy liquorice sorbet, rasberry coulis, a scatter of crisp, liquorice merangue fragments over creamy dark chocolate mousse.... yes! this desert is the first image in the sequence. The interior of 'the Clareville' features totem 'stack' sculptures by Lex Dickson and traditional fish prints on washi paper, printed from actual fish and hand coloured by Cooper Dickson. Previously well known locally as the Kiosk, 'the Clareville' is a stone's throw from Clareville shore Reserve and just down the road from Cooper's once family home built by his dad Lex and grandfather. I first met Lex Dickson, who was originally from New Zealand, in 1977 when he was the talented full time apprentice and off sider to Richard Brooks at Booralie Pottery, Duffy's Forest where I had been accepted as a part time apprentice to learn to throw. Little did I know at the time that many years later, Lex was to become my brother in law through my marriage to @chris._ward, a brother of Lex's wife, Cooper's mother, Sharon. Lex went on to work with Andrew Halford at Duffy's Forest and then in Hagi, Japan, with master potter Tamara Goro. Lex Dickson( 1951-2004) made pots for various Japanese restaurants in Sydney, including Tetsuya's, and held regular exhibitions of his ceramic tableware, Japanese style tea wares and wall and floor sculptures at Robyn Gibson Gallery in Sydney. #Guringai country. #familylunch #contemporaryceramics #contemporarytableware #australianchef #potterchefcollaborations #creativelegacy
The quietude of contemplative abstraction imbues B The quietude of contemplative abstraction imbues Brett Stone's modulated placement of ash inflected chun and ochre glazed bowls, dishes cylinders and beakers in pairs, stacks, scatters, groupings around the walls of Utopia Gallery. The artist told me that for him, these pots resonate with such references as his perception of nuanced colours and textures of Kamay (Botany Bay), colonial mariners' coastline drawings, his respect for the shell art of First Nations artist, Esme Timbery and his contextual interest in the compositions/ arrangements of Coelho, de Waal amd Hanson Piggott. The calm aura of Stone's installation titled 'Tis the gift to be simple' brought to mind this insight from the British art critic, Sir Herbert Read: 'Pottery is at once the simplest and the most difficult of all arts. It is the simplest because it is the most elemental; it is the most difficult because it is the most abstract." More insights abound in a carefully crafted catalogue essay by Kaz Davis which can be read via the links in bios @kaz.davis or @utopiart for the Utopia website. @chris._ward and I were inspired to buy Sydney rock oysters (badangi)for supper. #gadigalcountry #esmetimbery #kamay #studiopottery @australianceramics @utopiaartsydney @brettstoneware @kaz.davis #sydneyrockoysters #badangi #contemporaryceramics #contemporarycraft #chunglaze
Walking on Sugarloaf on Sunday. #haroldreidforesh Walking on Sugarloaf on Sunday. #haroldreidforeshoretrack #sugarloaf #sugarloafbay #middleharbour #gadigalcountry #remnantbush #alwayswasalwayswillbe
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