Tony Windberg: A Dialogue with Landscape and Materials

Tony Windberg’s connection to the Australian landscape began in childhood, exploring the bushlands beyond the suburban fringes of Victoria, Mandurah and Perth. “I’ve always been aware of the tension between the pristine and the developed,” he says, a theme central to his work.

At Curtin University (formerly W.A.I.T.) from 1984 to 1986, Tony explored abstraction through texture and mark-making within realism. His 1989 debut solo exhibition featured immersive tree portraits painted in the Perth Hills, capturing the textures of nature as if painting a person. Over time, his work evolved to include urban elements, as seen in Visitors (2001)(above left), where natural snippets—like a burn-off and a karri log—were embedded in city scenes, reflecting humanity’s concerning impact on nature.

Residencies in Meekatharra and Karratha further shaped his perspective, inspiring works that examined the human footprint on the landscape. "In Karratha, the suburban sprawl looked like it was copy-pasted onto the harsh land," he recalls, a contrast he captured through plein air sketches. His move to Northcliffe in 2006 deepened his exploration of control and containment, with symbolic motifs like ash clouds and blue gum plantations appearing in his work. After the devastating 2015 Northcliffe fire, Tony relocated to Pemberton, balancing life between bushland and town.

Tony’s approach to materials has evolved through constant experimentation. His 2016 Control Point (above) exhibition responded to the Northcliffe fire, incorporating fireground ash, paint samples and rust-effect paint. “I wanted to see what happens when you mix the domestic with the natural,” he says. This playful stage allowed him to experiment with both traditional and unconventional materials—cutting lace curtains, using ash, and mounting pieces on doors.

His fascination with natural pigments began in the 1990s during a stay in Arnhem Land, where he watched artists grind ochres. Since then, he has used earth pigments from across Western Australia, often stored in used Moccona coffee jars – he admits he may have drunk too much of this over the years!  As a painter, Tony also borrows printmaking techniques, like using drypoint to transfer imagery onto paint cards, creating unique textures that push the boundaries of traditional painting.

Certain landscapes have left lasting marks on Tony’s work. The Burrup Peninsula’s petroglyphs inspired a series mimicking engraving techniques by removing surface patinas. In the South West, he used wood-grain vinyl as a metaphor for the veneer of plantation industries, blending humour and critique. His Woodcut series and wall-hung sculptures explored these ideas through optical illusions and multi-layered materials.

One of his most significant encounters was with a karri tree near Walpole, which inspired his first solo exhibition. “The tree was a microcosm of everything around me, showing the cycles of nature in its bark and scars,” he recalls. Painting it taught him to embrace accidental textures and let the process guide the work—balancing realism with abstraction.

Teaching has been a key part of Tony’s journey. “Workshops create an environment where ideas bounce off each other,” he says, emphasising the importance of play in learning. In his workshops, he encourages participants to reconnect with their creativity, shedding judgment and rediscovering the joy of art-making.

From early teaching roles at Atwell Arts Centre and UWA extension programs to ongoing workshops in Albany and the South West, Tony blends traditional techniques with contemporary approaches. “I believe technical skills can support an ‘anything goes’ attitude,” he explains, aiming to equip participants with both creative freedom and practical knowledge. 

Tony’s recent exhibition, Timelines, sparked new ideas, exploring the convergence of opposites—abstraction and realism, control and chaos. He’s excited to continue developing works that combine additive and reductive processes.

He also plans to revisit his fascination with Mars, using NASA imagery to explore parallels between Martian and Earth landscapes. His Wonders of the Worlds (above) series pairs Martian terrain with depictions of ancient ruins, prompting reflection on human achievements, capacities and our responsibilities to this planet.

Tony’s work invites viewers to engage in an ongoing dialogue with the land, embracing creativity as a process of discovery and transformation.