For twenty years, Sabbia Gallery has played a vital role in shaping the landscape of contemporary ceramics, glass, and fibre art in Australia. From its beginnings in Surry Hills in 2005 through its evolution to a thriving, internationally respected gallery in Redfern, Sydney, Sabbia has remained the only commercial space in Australia solely dedicated to these mediums. With a commitment to excellence, education, and cultural dialogue—including longstanding support of First Nations artists—Sabbia has helped redefine how these art forms are perceived and celebrated under the leadership of founding director Anna Grigson.
To mark its 20th anniversary in 2025, Sabbia is presenting twenty, a landmark exhibition featuring 68 artists and over 50 newly commissioned works, accompanied by a national public program and a commemorative publication. On this occasion, we spoke with Anna Grigson about the gallery’s origins, its impact over two transformative decades, and the evolving practices of the artists it represents. In this conversation, she reflects on Sabbia’s most meaningful collaborations, the importance of mentorship, the resilience of artists, and the values that continue to shape the gallery.
Ceramics Now: Looking back on the past 20 years, what inspired you to establish Sabbia Gallery in 2005, and what was your vision for it at the time?
Anna Grigson: I have worked in a number of public and commercial galleries since my university days and while completing my Master’s. I was curator at the innovational Quadrivium Gallery in the Queen Victoria Building in Sydney from 1996. We exhibited contemporary artists from Australia and Asia in the art mediums of works on canvas, paper, ceramics, glass and jewellery. Here, we recognised the art movement that was occurring in Australian studio glass in particular. Young and more established artists were collaborating with artists from the North West of the USA and the innovative artworks being created by these often new artists was extraordinary. The gallery focused more on exhibiting glass and ceramics to acknowledge what was happening within Australia and the acknowledgments they were achieving in the USA And Europe.
Sabbia came about as an extension of this period, where I identified just how under-represented these artists were within Australia. They were being exhibited and collected overseas but were relatively unknown in their own country. Sabbia was established in 2005 to give a voice to these exciting and passionate artists who were groundbreaking in their approaches to their material.
Sabbia has been instrumental in championing contemporary ceramics, glass, and fibre artists in Australia. How do you see these mediums evolving today compared to when you started the gallery?
In 2005, glass blowing was a large part of the artwork being created in glass, and kiln forming and casting were being utilised to a lesser degree. Since then, the artists have refined their skills and developed new techniques for which they are internationally known. Australian artists are never content with simply leaving the surface after being blown, kiln formed or cast, but rather spend weeks surface working their artworks to achieve the finish and results that maximise their material and best tell their stories.
Ceramics in 2005 consisted of many established artists predominantly throwing functional objects and larger vessel forms. There was a strong association with Japanese ceramics, and with this, they had enormous success in the 1980s to 1990s, but there was less of a market within Australia for this nature of work. Since 2005, the number of artists and collectors interested in ceramics has increased exponentially. There is a confident group of ceramic artists experimenting more with their material, forms, glazing and techniques and being recognised for this. It’s as though ceramics is new again.
In 2025, the combination of creativity and technical skill to achieve such extraordinary and unique artwork is what places our artists among the most avant-garde in the world. With passion and drive, they push their materials to extremes and new places. Developing original techniques and processes, the artists master these dynamics to share their stories and discoveries through their art.
The twenty exhibition is a major celebration, bringing together 68 artists and over 50 newly commissioned works. What makes this exhibition special for you?
twenty exhibits the new work of 68 artists. There are 101 artworks included. These artists include our entire present stable of makers, along with artists Sabbia has represented in the past 20 years who have changed their art focus or who no longer actively create art. We are also fortunate to have artworks included by four artists who have passed away: Les Blakebrough AM (1930-2022), Kunmanara Carroll (1950-2021), Gerry King (1945-2024), and Klaus Moje AO (1936-2016).
The artists were asked to look back at their time with Sabbia and find a seminal moment, be it an exhibition, an opening, an event or a conversation, that somehow changed the trajectory of the art practice. The artists embraced this curatorial premise with open arms, resulting in some beautiful new works of art, many reminiscent of pieces from the past but with another layer of refinement.
The conversations that have occurred whilst curating this exhibition have been heartwarming, with the support of all these artists for the Sabbia team and the exhibition being very important to its success.
We have been able to look back at the 20 years and enjoy the many memories and achievements over that time. It has made me realise the lifelong friendships that have occurred.
Sabbia has played a significant role in supporting First Nations artists working in glass and ceramics. What have been some of the most meaningful collaborations or milestones in this journey?
Sabbia has worked with APY Lands artists that work out of the Ernabella Arts studio in Pukatja since 2008. We have been excited and supportive of the artists telling their Creation stories on ceramics since that time through many group and solo exhibitions. We have extended the artists to include glass artists from Ninuku Arts in the APY Lands, Girringun artists from Far North Queensland, artists from the Tiwi Islands, Hermannsburg artists in the Central Desert, Erub artists in the Torres Strait and well as urban-based First Nations artists.
Since then, we have placed hundreds of artworks, including some large-scale sculptural artworks and installations, into public and private collections around the world, giving access to stories of Country to an entirely new audience. We have also worked with the remote art centres to represent these artists under their own name rather than under the umbrella of the art centre. It has been important to me personally to place these artists amongst their peers within the fine art world. These artists include Alfred Lowe, Jenni Kemarre Martiniello, Kunmanara Carroll (1950-2021), Rona Panangka Rubuntja, Carlene Thompson, Selinda Davidson, and Anne Nginyangka Thompson, amongst others.
The Clay Stories touring exhibition from 2017 to 2019 is a highlight. This exhibition travelled to seven public galleries across Australia and included 22 artists from 6 remote art centres in Australia and the Torres Strait. It was a highly successful and popular exhibition the went a long way in the education of what is happening with First Nations Art.
You’ve worked with many leading artists, from Clare Belfrage to Honor Freeman and Kunmanara Carroll. What do you think defines a Sabbia artist? Is there a shared philosophy?
When working with materials such as ceramics, glass and fibre, you need to be highly skilled with the medium before you can begin to tell your story. Our artists are masters of their material, which they have achieved after years of research, development, and a deep understanding of how far they can push it and the qualities their material can provide.
Being able to manipulate and utilise their medium to achieve dynamic artworks is what all our artists strive for. The process is just as important for them. There is honesty in both the artwork being created and the artist’s approach to their practice.
Education and mentorship have been central to Sabbia’s mission, from the Sabbia Mentorship and Solo Exhibition Prize to collaborations with major institutions. What impact has this had on emerging artists’ careers?
We have awarded the Sabbia Mentorship and Solo Exhibition Prize to a ceramics graduate from the National Art School Sydney and the Sabbia Solo Exhibition Prize to an Ausglass Emerging artist for over 15 years. We will announce the inaugural Sabbia Mentorship and Solo Exhibition for a Glass Graduate at Sydney College of the Arts Sydney University in 2025.
Professional practice is something that can only be achieved with life experience. Understanding the complexities of running an art practice, liaising with curators and galleries, handling finances, and everything else involved in running a small business is crucial to the continued success of an artist. Sabbia, through its prizes, works with emerging makers and helps them navigate through their first few years without the support of an educational institution. We offer both encouragement and advice in all aspects of their artistic studio life.
It is important that we bring our artists and these younger makers to the attention of curators, writers and galleries within Australia and overseas. Being able to experiment with your art for different opportunities that these interactions bring further extends an artist’s practice.
Having their work collected for these galleries, institutions, and private collections allows a greater audience to experience their art.
Sabbia has worked with public galleries and institutions over its 20 years in exhibition collaborations, collection advice, and for the advancement of our stable of artists and the emerging artists we support. We seize any opportunity for the work of our artists to be seen and appreciated.
Reflecting on two decades, which exhibitions or moments stand out the most? Perhaps a breakthrough or a conversation that made you stop and think, ‘This is why I do this’?
20 years is a long time, and there have been many moments that stand out. My conversations with our artists are always important, whether working together in realising an exhibition, studio visits, or at an opening event celebrating good art. My conversations with the late Klaus Moje AO were instrumental in the way I approach running the gallery. His drive for pushing his material was always inspiring, but it was the advocacy he continually showed in supporting so many other artists that made me understand that it takes a community for the success of all. I can see his continued impact on many artists we represent, and he plays a role in why I love what I do.
The gallery has been such a significant part of your life for two decades, and running a gallery comes with many challenges. Can you share a rewarding aspect of running the gallery? Were the moments of doubt along the way?
I convinced my sister Maria Grimaldi to establish Sabbia in 2005. I knew that opening a commercial gallery would always be risky, but I knew I had so many exciting and passionate artists who would support us, so I felt assured knowing that.
I told Maria that we would give it two years, and if it didn’t work, we would walk away. Maria retired in 2019. In 2025, it is now 20 years, and the gallery is stronger than ever.
Sabbia has had its hurdles, but each one brought some positivity. The Global Financial Crisis of 2005, just after we opened the gallery, saw our international collectors disappear, but in turn, our Australian clients expanded and continue today. COVID saw us all hiding away, but the Sabbia team stood strong, and we continued running our physical exhibition program despite all the challenges that this time brought, with our exhibitions continuing to sell out and an increase in our collectors.
Every exhibition is a nervous wait. An artist works for months, often years, on a new body of work for an exhibition, and it is Sabbia’s role to support them along the way as well as achieve audience response and a financial outcome. We are lucky to represent the premier artists working in their field, and the exhibitions are usually very successful.
The Sabbia team is the backbone of the gallery. They are so committed to the gallery and our artists. We have been able to work together to overcome any challenges we face.
You’ve seen many artists grow and evolve over the years. Are there any stories of transformation, artists who took unexpected creative leaps, or whose journeys were unconventional?
All our artists have a story of transformation; I will make a note of a few below.
Artists Ben Edols and Kathy Elliott ran a large hot glass studio in Sydney for many years; after power prices increased so much, they had to close the studio, which was devastating for them both. A period of time occurred after this when they questioned their practice and considered no longer creating art. It took a few years, but they found their feet and the confidence to work again, resulting in some beautiful and important exhibitions, and their art continued to be enjoyed by so many.
Pippin Drysdale’s resilience over so many years of making sees her at 82, continually driving her practice through new form and glaze development. Being a finalist in the Wynne Prize in 2023 at the Art Gallery of New South Wales is a highlight in her career and a major installation being acquired by the gallery in the same year. After enormous success overseas, in particular Europe, being recognised within Australia was long deserved.
Brenden Scott French is our unsung hero. I consider him one of the best glass artists working in Australia. He is also continually developing his art, with new processes being achieved almost on a monthly rotation. He knows glass so well and what it can do for him. He never stops and pushes himself to always do better. He never ceases to delight in the art that he creates. He is an incredible glass blower.
Susie Choi is one of our younger artists, but even with only three years of exhibition experience, we know she will have a long and successful career. Susie is the child of Korean migrants, and she has recently responded to her childhood and to the colours of the traditional Korean dress she was made to wear, as well as the beautiful Korean knotting that was part of so much of her past. We can see this new introduction of thread and fibre in her ceramic artworks and the colour palette being more reminiscent of her heritage.
Looking ahead, what excites you most about the future of Sabbia Gallery?
Thank goodness the Art Craft debate from the 1990s is no longer occurring. Artists focusing on art mediums that were traditionally associated with the Applied or Decorative Arts are finally being acknowledged standing beside their peers in the popular Fine Arts. After 20 years, I can see how far this has progressed. I am proud to have played some part in the success of our artists and the greater understanding of the extraordinary artwork through creativity and highly technical skill.
I am excited about what the future brings for all of Sabbia’s artists and the relationships that will continue to develop.
Sabbia Gallery’s 20th anniversary exhibition twenty is on view at Sabbia Gallery, Sydney, between March 8-29, 2025.
Interview by Vasi Hirdo, Editor of Ceramics Now.
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Captions
Installation views, twenty, Sabbia Gallery, 2025. Images courtesy of Sabbia Gallery
