pink sky at night

Written By Tesha Malott

Imogen Kerr, Phoebe Walker, Ruby Rigg-Smith, Tiia Marsh

pink sky at night
Curated by Imogen Kerr and Ruby Rigg-Smith

ARTBOX Level 2 - 4, Fisher Library (June - November 2026)

Close up view of a landscape print on textured mesh paper. The paper has folds and small holes. The image pictures clouds above a beach view, in colours of light purple, blue and yellow.

Ruby Rigg-Smith, both sides now, 2026, CMYK silkscreen on mesh paper, thread, wood. Photography by Estelle Yoon.

Artist Statement

Pink sky at night, sailor’s delight

Pink sky in the morning, sailor’s warning.

We lose things, and we find things. Still, nothing remains unchanged by tide nor time. Even if what washes ashore is exactly what you’ve lost.

Pick it up, ruminate a lifetime.

Cast adrift, things become transformed, translated. And as with any translation, meaning changes, but nothing is ever completely lost. For better or for worse these things will always return, perhaps with more barnacles than before.

Spanning three levels of Fisher Library, from the wind in a sail to the bottom of the seafloor, pink sky at night seeks to dredge up things lost; inspired by derelict bronzes, smoothed-over sea glass, sunken silver, or teddies forgotten on holiday.

Making on Boregal, Cammeraygal, and Gadigal land are works by artists, Imogen Kerr, Tiia Marsh, Ruby Rigg-Smith, Johanna Rigg-Smith, and Phoebe Walker.

 

Level 4

Installation view, left to right. Hanging pastel screen print on a wooden stick. Patterned knot of thick rope. Hanging white embroidered tapestry. 4 small black and white photographs nailed onto a wood plank.

pink sky in the morning, installation view. Left to right: Ruby Rigg-Smith, both sides now, 2026, CMYK silkscreen on mesh paper, thread, wood. Johanna Rigg-Smith, Ocean knot, 2026, Rope, Imogen Kerr, Barbed Wire, 2024, silk and beads, Imogen Kerr, found object, 2024, wood, nails, found and digital photographs. Photography by Estelle Yoon.

 
Large rope knot consisting of a braided pattern where each section is 3 rope widths thick. The rope is made of twisted brown fibers with a rough texture. The knot sits on a black background.

Johanna Rigg-Smith, Ocean knot, 2026, Rope. Photography by Estelle Yoon.

4 small Black and white portraits nailed to a plank of wood. The portraits depict a woman with short hair, wearing a pearl necklace and mock-neck sweater. The photos alternate between an older woman and a young woman.

Imogen Kerr, ‘found object’, 2024, wood, nails, found and digital photographs. Photography by Estelle Yoon.

 

Level 3

Installation view, left to right. Textured metal sculptures with photographs on wood. Brown blown glass sculptures. Indented paper on square wood board. Small ceramic sculpture of a sinking ship. Shells.

pink sky in the morning, Installation view. Left to right: Tiia Marsh, Shorelines, 2026, cuttlefish shell carving cast in pewter. Tiia Marh, Catshark eggs, 2026, blown glass. Ruby Rigg-Smith, Firmament, 2024, softground copperplate etching, nails, wood. Phoebe Walker, Mrs. Chippy’s Last Expedition, 2026, stoneware clay, glaze, wooden chopstick, sail cloth, cooking string. Photography by Estelle Yoon.

Vertical plank of wood & horizontal weathered wood block with many organic shaped pewter pieces with textured wave-like ridges. Some of the pieces are picture frames, housing small photos of ocean waves and rocky cliffs.

Tiia Marsh, Shorelines, 2026, cuttlefish shell carving cast in pewter, Photography by Estelle Yoon.

Close up of a piece of blown glass. The shape is organic and tube-like. The glass has a brown colour, with thinner areas in a light amber.

Tiia Marh, Catshark eggs, 2026, blown glass, Photography by Estelle Yoon.

Ceramic sculpture in white, depicting 2 small animal figures on a ship. One wears a hat, steering the ship, the other holding a net full of fish. The ship is on a high wave, with wooden masts and black ceramic barnacles.

Phoebe Walker, Mrs. Chippy’s Last Expedition, 2026, stoneware clay, glaze, wooden chopstick, sail cloth, cooking string. Photography by Estelle Yoon.

 

Level 2

pink sky in the morning, Installation view. Left to right: Phoebe Walker, Nutmeg, 2026, stoneware clay, glaze. Tiia Marsh, Spotted Catshark Egg, 2026, blown glass. Imogen Kerr, Big Fabric Phish, 2026, fabric soft sculpture. Imogen Kerr, botticelli’s pineapple fish, 2023, pewter. Ruby Rigg-Smith, Jetsam, 2024, silkscreen print on glass. Photography by Estelle Yoon

Left, ceramic sculpture of standing bat-like creature in an old diving suit with helmet shield open, holding a small duck, with shells scattered by its feet. Right, 2 organic shaped blown glass pieces in black and green.

Left, Phoebe Walker, Nutmeg, 2026, stoneware clay, glaze. Right, Tiia Marsh, Spotted Catshark Egg, 2026, blown glass. Photography by Estelle Yoon.

Small pewter fish sculpture in a red and white scallop shell. The shell sits on a clear acrylic stand, on top of a white crocheted mat.

Imogen Kerr, botticelli’s pineapple fish, 2023, pewter. Photography by Estelle Yoon.

3 glass rectangle boxes with one on its side and one stacked on top. Printed in blue on the glass is images of ancient Greek or Roman style vases, depicting figures holding instruments.

Ruby Rigg-Smith, Jetsam, 2024, silkscreen print on glass. Photography by Estelle Yoon.

Verge Projects is a platform that aims to strengthen the University of Sydney community and networks through on-campus art activations. Verge Projects delivers community engaged projects led by and in collaboration with student and student groups. Stepping outside of art faculties and spaces, this program encourages inclusive and creative experiences campus wide.

Tesha Malott
Next

heat x stress x time: New Works in Glass, 2026