FORM 2015 Annual Report

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2 015 F O R M A NNUAL REPORT

CONTENTS Introductions

- Executive Director’s Report - FORM Overview - Year at a glance

6 8 10

Studio Practice and Residencies

- Shadow - The Goods Shed - Word Land - Recrafted - Bedazzle

20 26 30 34 38

Art in Place

PUBLIC 43 - Overview - PUBLIC Symposium - Public Art in the City - PUBLIC Salon - Art in the Wheatbelt - Art in the Pilbara - 100 Hampton Road

44 46 50 58 60 66 70

PUBLIC ART 78

Creative Regional Communities

- Port Hedland Courthouse Gallery - Port Hedland visual arts program/workshops - Hedland Art Awards

91 94 100

PORT HEDLAND CULTURAL AMENITY

357 Murray Street Perth, Western Australia, 6000 E: mail@form.net.au T: +61 8 9226 2799 F: +61 8 9226 2250 Published by FORM Designed by Glasfurd & Walker Printed by Scott Print

PORT HEDLAND ARTISTIC PROGRAMMING

- Port Hedland Visitor Centre - Provedore - West End Markets

Aboriginal Cultural Development

104 107 110

SPINIFEX HILL ARTISTS - Spinifex Hill Artists - We Call it Home

116 118

ABORIGINAL ART CENTRES Our websites: www.form.net.au www.thepilbaraproject.com www.visitporthedland.com www.canningstockrouteproject.com.au www.discoverthepilbara.com.au www.prettypoolprovedore.com.au

©2015. All rights reserved. Copyright for photographic images is held by the individual photographer. Copyright for written content and this publication is held by FORM. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without prior permission from the publishers: FORM.

- Radiance

124

REMEMBER ME

128

LAND.MARK.ART 132

Organization

- Evaluation and Audience Engagement - Media, Marketing, and Communications - Membership - Publications and films - Creatives Engaged - Board Members Report - Thank You

136 138 140 142 144 148 150

F O R E WO RD

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FOREWORD

by Paul Chamberlain, Chairman of FORM

This has been a year of huge achievement for FORM: the epic event of PUBLIC, the exhibitions, outreach and programming in Perth and in the Pilbara, the constant and tireless effort by Lynda and the FORM team in laying the groundwork for continuing to ‘build a state of creativity’ in Western Australia. You’ll read all about it in this annual report, which I’m proud to present to you.

When I became FORM’s Chairman in 2013, I never dreamed that by 2015 we would have interacted with so many people through our programming and activities; yet this year the activities associated with PUBLIC alone pulled an estimated attendance of 45-50,000 people-real people having real conversations-in addition to the many thousands of interactions via social media.

Yet, as Lynda mentions in the Director’s report, 2015 has also been a year of huge challenges, particularly financially, as funding opportunities are squeezed more tightly. Increasingly, we need to look beyond government and the corporate sector for support, and as Chairman, I have been endeavouring to steer FORM towards new affiliations and partnerships with individuals and organisations in Western Australia’s philanthropic sector.

F IRST CONTACT, LAUREL NANNUP, CAST ALUMINIUM, 5X5X1.75M, ELIZABETH QUAY. PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO AGENCY, 2015.

This isn’t just about money for salaries and programs, crucial (and welcome) though that is. It’s about making meaningful connections with the giving and philanthropic networks in our own backyard, joining with them to build mutually beneficial associations for the good of all. If FORM can demonstrate the value of its work-and the value of creativity to our lives and environments-to the people who have the freedom and desire to invest in that work, then we are not just forging relationships based on dollars and contracts. Collectively, we are building the foundations for increased social capital and trust within Western Australia. We are sharing the responsibility-and joy-of building a state of creativity.

If you are a philanthropist, and you are inspired to make an investment in Western Australia as a result of what you read in this report, then please, don’t hesitate. Let’s have a conversation about how we can work together.

I want to thank our generous partners, supporters, members and all the inspiring creative people with whom we work for making 2015 such a memorable year, despite the challenges. And I wish most of all to acknowledge the talent and extraordinary work ethic of the FORM team, without which none of this would be possible.

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EXECUTIVE D I R E C T O R’ S R E P O RT ‘Culture matters all the time and for all people.’ These words from American artist and urban innovator Theaster Gates, whose inspirational presentation at the PUBLIC Symposium in April was one of the highlights of 2015, have resonated with everything that FORM has aimed to achieve throughout the past year.

funding campaign will supply it with utensils and equipment.

The kitchen will be operational in the New Year, eventually producing Hampton Road-branded produce and preserves: a micro-enterprise intended to lift morale, sharpen skills, and provide income.

It was a year in which FORM welcomed over a hundred urban innovators and artists from all over the world to Western Australia to share their talent and expertise during PUBLIC 2015.

These individuals not only left legacies in the shape of engaging artworks and inspiring ideas, but also established connections which will endure into the future: networks of shared experience and mutual interest linking people and creativity here to people and creativity across the rest of the country and throughout Europe, Asia, and the Americas.

It was a year in which we set about imagining how we might transform the fortunes and fabric of a disused but important heritage building, The Goods Shed, in Claremont with a new partner Landcorp. Perth’s newest creative hub and community space is destined to open its doors in April 2016, coinciding with the launch of PUBLIC 2016 and Western Australia’s first prototyping festival, called PLATFORM. Another example of PUBLIC in action, creativity for the common good, The Goods Shed will host a year-round program of creative residencies, speaker events, exhibitions and workshops, and become a place of interaction, enjoyment and learning, not only for the surrounding community but also beyond.

A year in which FORM’s partnerships with companies such as BHP Billiton became increasingly important in deepening a collective capacity to show how creativity can make meaningful change in communities as diverse as a regional hub in the Pilbara (Port Hedland), and a social housing project in Fremantle (100 Hampton Road).

It was a year in which one of the country’s newest Aboriginal arts groups, the South Hedland-based Spinifex Hill Artists, staged not one but two sell-out shows in the Pilbara and in Perth.

And a year which witnessed the delivery, after a long time in painstaking development, of several important public art pieces transforming key sites in Perth and the Pilbara: seven new installations at Perth airport, five new artworks in the courtyard of the Old Treasury Building, a kinetic sculpture at the Brookfield Place site, a number of installations at the Midland Health Campus, and up in Port Hedland, a shade canopy at McGregor Street.

It was a year in which we started to see how PUBLIC in action, in the shape of a curated community engagement project using creativity as a catalyst, at 100 Hampton Road, Western Australia’s largest lodging house, could make some headway in re-introducing the building and its residents to the surrounding neighbourhood, fostering a much more positive community relationship, as well as bolstering confidence for residents. A generous donation from Fremantle’s Impact 100 Group, given by local people to benefit local people, is paying for a new, commercial kitchen to be installed, while a successful crowd-

And a year in which FORM achieved charitable status, under the official name ‘FORM building a state of creativity.’

But it was also a very testing year. The financial and funding climate, always tricky for the cultural sector, became even more challenging to negotiate. The deceleration of the resources industry, in response to China’s slowing demand, inevitably had a knock-on effect that was felt throughout Western Australia, and particularly by organisations whose activities, and salaries, depend on the robustness of their collaboration with the private sector. State funding, welcome though it is, can only go so far. During 2015 there were moments of crisis: real fears over whether FORM could deliver the level of programming across our breadth of projects not only in Perth but also in the regions, and whether we could maintain the staffing levels to achieve this delivery.

As Western Australia’s economic fortunes continue to recalibrate, this is an ongoing predicament, because it is clear that the future isn’t what it used to be. But what this difficult financial situation illustrates, more than ever, is the need for this State to have a diversified cultural and economic platform, one that capitalises on Western Australian distinctiveness, creativity, natural beauty, ancient culture and heritage, and that integrates all these assets into our built environments, our visitor experiences, our national and international profile, our way of life, right down to our neighbourhoods and shared public spaces.

Another opportunity it presents came up repeatedly at the PUBLIC Symposium: the value of being able to accept and adapt to uncertainty, which of course is the condition under which creative people operate all the time. As Theaster points out (and you can see his Symposium presentation in full at https:// www.youtube.com/watch?v=wpxOQeD5Yf4) all of his projects of architectural redemption, taking broken-down buildings and transforming them into cultural and community assets, start with questions rather than answers.

He says, ‘people so often want us to have the master plan [but] artists and creatives work from a spirit of ‘oh, that’s a really nice building, I should do something with that.’

‘Allowing the question to linger just a little bit longer,’ he adds, ‘allows us to come up with better solutions.’

Another Symposium theme touched on the value of speaking up for how we want our neighbourhoods to look and feel.

Colombian politician Enrique Peñalosa, recently re-elected as Bogotá’s mayor, and keynote speaker at the PUBLIC 2015 Symposium (his presentation video is at https://www.youtube. com/watch?v=6fpiWDUblW0) made many references to how citymaking is as much about democracy as it is about engineering and design. He observed that a good city is ‘a city where nobody feels inferior…where rich and poor meet as equals...or somebody on a bicycle has the same right to road space as somebody in a Rolls Royce’.

His point is that being able to live in creative, stimulating and socially cohesive communities shouldn’t be a privilege but a right.

But in enjoying that right, we all share responsibility for making an active contribution towards our communities’ creativity and vibrancy. We may not all be architects or urban planners, but we do live in buildings, in streets, in suburbs of a town or city, so we’re specialists on neighbourhood living too.

That’s why ‘culture matters all the time for all the people’ and why, during 2015 and on into 2016, despite ongoing challenges, we at FORM continue to work in collaboration with Western Australians towards building a state of creativity in Western Australia.

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FORM O V E RV I E W FORM believes that art and creativity are essential to community wellbeing, and we work to build a cultural and creative ecology for Western Australia that values artistic excellence, improves arts access for all, and encourages the development of resilient and vibrant communities. At the core of FORM’s vision of artistic excellence is a process of co-creation, whereby we facilitate relationships between artists and communities to enable outcomes that are mutually relevant, authentic, and enduring. Community engagement provides artists with the opportunity to expand their practice in new ways, while exposure to artistic excellence allows communities to recognise what makes them distinctive and to be ambitious about their future.

FORM generates these opportunities in order to foster Western Australian communities that nurture creativity, showcase cultural diversity, insist on excellence, and are shaped with people in mind. As such, our current organisational values are: - Access to arts and culture for all: Put excellence in arts and culture at the centre of Western Australian life.

- Commitment and Legacy: Commit to ambitious, long term programs that create meaningful cultural change and demonstrate leadership.

- Western Australian Distinctiveness: Celebrate distinctively Western Australian art and culture with global reach.

FORM’s approach is embedded in research and development, and designed to create legacy projects that employ a full visual arts spectrum including, but not limited to, craft, design, visual art, and digital media. This philosophy is reflected in FORM’s substantial track record in establishing innovative, long-term, cross-industry partnerships, for the benefit of individuals, the arts sector, and the broader Western Australian community. These projects not only lead to presentation and promotion outcomes, but also incorporate mechanisms to promote expanded access for participants to training, development, and the creation of new partnerships, networks, and opportunities.

To underpin such programming, FORM undertakes research projects in partnership with leading international research organisations and experts. Starting with the Designing Futures Forum in 2003, our Creative Capital program has been a catalyst in shaping the dialogue around what Perth’s community and stakeholders would like their city and State to be, while examining ways to extend the State’s economic prosperity and cultural/ social diversity beyond the resources boom. Its most recent iteration, PUBLIC Symposium in April 2015, brought together international artists, academics, and place-making experts to explore the capacity of the arts and creativity to foster public good and community wellbeing.

FORM’S ARTISTIC NETWORK

FORM’s programming and research streams provide artistic leadership yet also respond to the needs of the communities with whom we engage. We have sustained long-term engagement with the craft and design sector, regional and Aboriginal artists and communities, providing platforms to foster new economic and cultural opportunities that promote identity and preserve culture and heritage. A major focus of our current program is the support of Western Australian artists, who currently have limited exhibition and sales opportunities following the closure of the majority of the State’s commercial galleries in recent years.

Alongside our creative and community programming, our public art commissioning and consultancy stream provides economic and artistic opportunities as well as increased access for local, national, and international artists. Over the coming years FORM will realise our programming in line with our new constitutional objects (adopted early 2015). These objects represent the consolidation, begun in 2000, of FORM’s transition to a multi-artform organisation with charity status:

GEETA MEHTA AT THE PUBLIC SYMPOSIUM, 2015.

PHOTOGRAPH BY DAVID DARE PARKER, 2015.

-F oster a thriving and sustainable arts industry in Western Australia, through investment in artists and cultural infrastructure.

- Develop projects that contribute to the body of knowledge linking creativity to community well-being.

- Create innovative platforms through which Western Australian artists can communicate with new audiences for mutual benefit.

- Advance the education in and enjoyment of the visual arts in Western Australia for the benefit of the public, particularly but not exclusively for non-traditional arts audiences.

- Initiate and/or facilitate projects in collaboration with arts and non-arts sectors for the benefit of the public and Western Australia’s cultural development.

In 2015 FORM continued its commitment to our values and constitutional objects, resulting in a vibrant program that continues to democratise art and creativity and explore distinctively Western Australian culture. This Annual Report outlines the development of each of our projects and programs throughout the year.

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2015 – A YEAR AT A G L A N C E January A number of FORM staff assist in a voluntary capacity in operations for Andrew Frazer’s Re.Discover street art festival in Bunbury.

A morning tea is hosted and catered by 20 residents of 100 Hampton Road for landscaping partners BGC and the Board of Foundation Housing.

UNTITLED, TWOONE FREMANTLE. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015

100 Hampton Road residents are commissioned by the City of Fremantle to create a number of wooden stools for the City.

Resident-led cooking workshops are held in the 100 Hampton Road common room kitchen.

March

Design and development begins on the installation of a commercial kitchen for 100 Hampton Road.

A Kingbrown Magazine launch is held at FORM Gallery, with an accompanying exhibition of small-scale artworks running for 3 weeks.

Oz Harvest deliveries commence on a weekly basis at 100 Hampton Road.

A week-long Pilbara residency by street artists Beastman (NSW) and Vans the Omega (SA) begins.

The exhibitions Converge: a topographical abstraction of the Pilbara and A Dot on the Run open at the Port Hedland Courthouse Gallery as part of PUBLIC Art in the Pilbara.

February

The first West End Markets of the year are held in Port Hedland.

The markets have a ‘native flora’ theme inspired by the launch of a new book by Greening Australia.

Western Australian artist Ian de Souza runs a painting workshop at the Spinifex Hill Studios for 15 participants.

A visual merchandising workshop is held at the Port Hedland Courthouse Gallery for 25 participants, including a number of West End Makers’ Market stall holders.

PUBLIC artists-in-residence Hense (USA) and Phlegm (UK) begin work on their large-scale murals on a grain silo outside of Northam in the Western Australian Wheatbelt.

Ian de Souza begins two months of weekly painting classes for residents at 100 Hampton Road.

Large-scale vinyl artworks by PUBLIC artist NeSpoon (Poland) are installed on the façade of Brookfield Place Tower 1, Perth as part of PUBLIC Art in the City.

A neighbourhood meeting is held at 100 Hampton Road to showcase the project to Fremantle locals.

A furniture-making workshop by A Good Looking Man is held at the Spinifex Hill Studios for 15 participants.

PUBLIC Salon 2015 opens at FORM’s Victoria Park pop-up gallery space.

The Bedazzle residency for Perth-based photographic artists Thea Costantino, Rebecca Dagnall and Tarryn Gill begins in Marble Bar. UNTITLED, HENSE CBH AVON GRAIN SILOS, NORTHAM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015

Cruise ship markets take place in Port Hedland for 2,500 passengers of Radiance of The Seas cruise ship.

Lisa Baxter from the Experience Business holds a two day workshop at the Port Hedland Courthouse Gallery.

Numerous PUBLIC artists begin installing artwork on walls throughout Victoria Park.

Artist Chris Nixon commences a mural on the main street of Northam for PUBLIC: Art in the Wheatbelt.

Bedazzle artists Thea Costantino, Rebecca Dagnall and Tarryn Gill host a Painting with Light workshop at the Spinifex Hill Studios for a group of 10 Pilbara-based photographers.

A preview event and curators’ tour of the Salon exhibition and adjoining laneway mural installation is held at the PUBLIC Salon pop-up space in Victoria Park.

A presentation is made to the Impact 100 Fremantle Foundation group, providing an update on the progress of the commercial kitchen at 100 Hampton Road.

100 Hampton Road residents who participated in the Dismantle bike-building workshop program complete their course, and each are gifted a bicycle by Dismantle.

Three chutney-making workshops are held to develop new product for the 100 Hampton Road brand.

Independent evaluation of the first year of the 100 Hampton Road project is completed.

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April Landscaping of the forecourt of 100 Hampton Road begins.

Creative Lab by Timo Santala takes place at PUBLIC Salon in Victoria Park.

PUBLIC Art in the City launches at the PUBLIC Salon in Victoria Park, followed by an Art Battles event (hosted by Art Lab) and sausage sizzle hosted by the Vic Park Collective.

The opening of Recrafted, an exhibition by PUBLIC artists Nandita Kumar (India) and NeSpoon (Poland) takes place at FORM gallery.

PUBLIC Symposium is held at the State Theatre of WA. Spinifex Hill Artists participate in the Revealed exhibition, marketplace and professional development programming.

The exhibition Power of Place, showcasing work by central Australian Aboriginal Art Centres opens at the State Theatre of WA, in conjunction with PUBLIC and Revealed.

Lightbox artwork by artist-in-residence Eva Fernandez (WA) is installed in the newly-upgraded forecourt at 100 Hampton Road.

Cruise ship markets take place in Port Hedland for 3,500 passengers of Voyager of The Seas cruise ship.

Shadow, a solo exhibition by PUBLIC artist Ian Strange (Aus/USA) opens at a pop-up gallery space on Murray Street.

PUBLIC festival closing party occurs in Perth Chinatown, featuring an Art Games battle (hosted by Art Lab), live painting, local musicians and a pop-up bar.

June Western Australian artists Kalem Bruce and Tom Rogers present the exhibition Into the Void as part of the PUBLIC Art in the City program in Leederville at Dream Studios.

Celebrate WA Day festivities take place in the Port Hedland Courthouse Gallery gardens.

Photographer Rebecca Dagnall undertakes follow-up trip to Marble Bar, to further develop her Bedazzle artworks.

PUBLIC: Art in the Pilbara takes place. Artists Moneyless, NeSpoon, DALeast, Pastel, Elian, Andrew Hem and Curiot travel to the Pilbara for five days, visiting the rock art at the Burrup Peninsular, Roebourne, Millstream-Chichester National Park, and Port Hedland.

The second West End Markets for 2015 take place, with a number of Geraldton, Karratha and Newman-based stallholders expanding the options of homewares, artwork, baby accessories and craftwork available for sale.

In collaboration with Hedland Senior High School, the PUBLIC School project delivers a unique learning experience to Pilbara secondary students by hosting short-term residencies by PUBLIC artists Moneyless, NeSpoon, Pastel, and DALeast, who create site-specific, permanent public artwork on the high school campus.

Landscaping of the 100 Hampton Road forecourt is completed.

Two exhibitions open at Port Hedland Courthouse Gallery, This is the Pilbara by local artists whose works have been showcased through ABC Open, and a group show by the Spinifex Hill Artists, We Call it Home.

PUBLIC SYMPOSIUM 2015 STATE THEATRE CENTRE OF WA. PHOTOGRAPH BY MARTINE PERRET, 2015

A prototyping creative lab with Gehl Studios takes place in the 100 Hampton Road forecourt as part of PUBLIC Symposium.

A textiles workshop with Helen Ansell takes place at the Spinifex Hill Studios.

Installation of numerous public artworks begins at Perth Airport, including works by Penny Coss (WA), Penelope Forlano (WA), Tom Muller (WA), Nike Savvas (NSW), and Nick Statham (WA).

Jeweller Pennie Jagiello begins a two-week residency in Port Hedland to further develop works for Worn Land. Her residency includes a number of fieldtrips around the Pilbara.

Installation of ground plane artwork by Western Australian artists Marcus Canning and Tom Muller begins at the Old Treasury Building, Perth.

May A textiles workshop is held for 10 people at the Port Hedland Courthouse Gallery.

Spinifex Hill Studios hosts an open day and exhibition, selling numerous works to the Port Hedland community.

Installation of ceramics stairwell artwork by Western Australian artist Ian Dowling begins at St. John of God Midland Public Hospital.

Travelling restaurant Fervor presents a degustation menu in the Port Hedland Courthouse Gallery gardens, for 40 guests, serving native, foraged foods from an open kitchen.

FORM curator Mollie Hewitt and exhibition designer Ellie van Rhyn travel to Melbourne to undertake a studio visit with Unexpected Jeweller project artists.

Shade canopies by Western Australian artists Peter and Miranda Farmer are installed at St. John of God Midland Public Hospital.

The Pretty Pool Provedore opens.

Two more artworks by Eva Fernandez are installed throughout the 100 Hampton Road building: a series of photographs for the building’s common room, and a stairwell installation spanning 8 floors of the building.

A barbeque is held to launch the newly-upgraded forecourt and new artworks at 100 Hampton Road.

The annual Pilbara Artist Camp is held for 8 members of the Pilbara’s creative community at de Grey Station, with artist Douglas Kirsop.

The first Pilbara field trip takes place as part of the development for the forthcoming exhibition project, Remember Me.

A second textiles workshop held at Port Hedland Courthouse Gallery for 10 people.

The Minister of Housing, Colin Holt visits 100 Hampton Road.

Residents host a morning tea for him.

Kitchen designs are finalised and installation commences at 100 Hampton Road.

FORM concludes its year-long engagement as a case study for the Australia Council for the Arts’ Audience Engagement Program, with Lisa Baxter from The Experience Business, in Sydney.

Resident-led community programming continues at 100 Hampton Road, including yoghurt-making, meditation, and a stool-making workshop with the building’s neighbours and other Fremantle locals.

Installation of ground plane artwork by Marcus Canning and Tom Muller continues at the Old Treasury Building, Perth, and a projector is installed at the site for Western Australian artist Sohan Ariel Hayes’ projection work.

PONTIFICATE ON THIS, FIONA FOLEY CAST ALIMINIUM CLAY PIPE, 135 X 35MM, 2016.

IMAGE COURTESY OF UAP.

Minister Colin Holt attends a cooking class and shared lunch with residents and tours through 100 Hampton Road.

Refurbishment of the 100 Hampton Road kitchen takes place.

Artworks by Spinifex Hill Artists’ Maggie Green are installed in Port Hedland’s McGregor Street development.

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July

August

The first ‘Art After Dark’ event takes place at Port Hedland Courthouse Gallery, a new public program tailored to the working schedules of Port Hedland’s community.

FORM launches the ‘Pitch in for a Kitchen’ crowdfunding campaign to raise money for the commercial upgrade of the 100 Hampton Road kitchen. The campaign achieves its $20,000 target within 24 hours, generating $30,000 by the end of the campaign.

The annual NAIDOC Week exhibition is held at the Spinifex Hill Studios, with the artist selling numerous works to the local community.

HANDMADE GLASS CRAFT STALL WEST END MARKETS. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

Screenprinting workshop at the Port Hedland Courthouse Gallery for 10 people.

Spinifex Hill Studios run a brooch-painting workshop as part of the annual Spinifex Spree Carnival.

FORM hosts the Young Energy Professional group with Dr Mike Nahan (Treasurer and Minister for Energy; Citizenship and Multicultural Interests), at FORM Gallery.

The second ‘Art After Dark’ event for the year take place for 38 guests. The event culminates in a catalogue launch for the Spinifex Hill Artists’ We Call it Home exhibition.

Seven residents from 100 Hampton Road are employed by Taste Budds Studio to cater for a Fremantle Foundation event.

‘Coffee and Cream’, an event with Aesop’s Business Development Manager Imogen Thomas, takes place at the Pretty Pool Provedore, for 22 guests.

Western Australian artists Brett and Laurel Nannup travel to Queensland to inspect the fabrication of Laurel’s First Contact sculptural commission for Elizabeth Quay, at Urban Art Projects’ foundry in Brisbane.

The 2015 Hedland Art Awards open at the Port Hedland Courthouse Gallery. The 2015 Awards see an increased prize pool (from $60,000 to $100,000) and extended entry to artists from the Mid West, North West, Pilbara, Gascoyne and Goldfields. The 2015 judging panel comprises Dr. Darren Jorgensen, Penny Coss, and Kate Mullen.

Installation of American artist Ned Khan’s sculptural work begins at the Brookfield Tower 2 development.

The 2015 Hedland Art Awards Judges Walkthrough takes place at the Port Hedland Courthouse Gallery.

Installation of a courtyard sculpture by Western Australian artist Rob McCulloch begins at St. John of God Midland Public Hospital.

A colour mixing workshop with Geraldton-based artist Helen Ansell, and a photography workshop with Perth-based photographer Bewley Shaylor take place at Port Hedland Courthouse Gallery in conjunction with the 2015 Hedland Art Awards.

A Land.Mark.Art workshop for 12 Noongar artists takes place to develop concepts for potential artwork commissions for the New Perth Stadium development.

A second Pilbara field trip is held in preparation for Remember Me. This trip sees artist Fiona Foley join FORM staff, filmmaker Curtis Taylor, and cultural tour guide Clinton Walker, visiting a selection of sites across the Pilbara.

Preselection for the annual Hedland Art Awards takes place at the Port Hedland Courthouse Gallery.

FORM’s Rhianna Pezzaniti hosts Tasmanian Tourism Industry Council Chair Simon Currant on a research trip around the Pilbara.

Perth-based artist Penny Coss delivers a painting workshop with the Spinifex Hill Artists.

FORM hosts an Aboriginal Art Centre networking event at the Spinifex Hill Studios.

The third West End Markets for the year takes place, branded as the ‘Visual Arts Edition’. Artist Penny Coss hosts a children’s painting workshop at the Markets in conjunction with the 2015 Hedland Art Awards.

Port Hedland based artists David Hooper, Amada Firenze Pentney and Helen Komene open their studios to the public, with the Port Hedland Courthouse Gallery hosting a bus tour to visit each studio.

Carly Scoufos’ (Qld) suspended artwork is installed at Perth Airport.

UNTITLED, MAY CHAPMAN ACRYLIC ON CANVAS, 91X122CM, 2015 PHOTOGRAPH BY GREG TAYLOR, 2015.

HANNAH GALLOWAY, PETER DEAN, & BRETT NANNUP AT A LAND.MARK.ART WORKSHOP. PHOTOGRAPH BY CAROLYN KARNOVSKY, 2015.

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September

October

A glazing installation by Western Australian artist Ian Mutch is installed on the top floor of St. John of God Midland Health Campus.

A screenprinting workshop takes place at Port Hedland Courthouse Gallery for 6 people.

We Call it Home, the Spinifex Hill Artists’ first touring exhibition opens at FORM Gallery, Perth.

A Seniors’ morning tea is held at the Port Hedland Courthouse Gallery for 15 guests, in conjunction with the 2015 Hedland Art Awards.

The fourth ‘Art After Dark’ event takes place at the Port Hedland Courthouse Gallery, for approximately 40 people.

Sculptural works by Western Australian artist Tony Pankiw are installed in the Emergency Department at St. John of God Midland Public Hospital.

A wall work by Western Australian artist Peter Dailey is installed in the paediatric ward of the St. John of God Midland Public Hospital.

An ‘Art Talk’ event takes place at FORM Gallery, Perth. Dr. Darren Jorgensen presents a talk on collecting Aboriginal art, which is attended by 25 people.

FORM staff Mollie Hewitt and Amy Plant present at the annual Tourism WA conference.

Aesop create a visual merchandising installation in the foyer of the Port Hedland Courthouse Gallery.

The third ‘Art After Dark’ event for the year takes place at Port Hedland Courthouse Gallery, an ‘Art Battles’ event featuring local artists Helen Komene, Amy McKee, Eric Mitchell, and Steve Schnieder.

The final exhibition for 2015, Summer Stock opens at the Port Hedland Courthouse Gallery.

A ‘Performing with Puppets’ children’s workshop takes place for 14 participants at the Port Hedland Courthouse Gallery, hosted

by Spare Parts Puppet Theatre.

The West End Markets ‘Halloween Edition’ takes place in the Port Hedland Courthouse Gallery Gardens. These markets were also the first to include a pop-up bar, which proved extremely popular with the Port Hedland community.

Installation of Western Australian artist Matthew Harding’s sculptural work takes place at the Old Treasury Building, Perth.

PRETTY POOL PROVEDORE PORT HEDLAND. PHOTOGRAPH

BY MIRIAM SHERIDAN, 2015.

THE GOODS SHED VIP PREVIEW PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

Numerous 2-dimensional artworks by Western Australian practitioners are installed at St. John of God Midland Public Hospital

Cruise ship markets take place in Port Hedland for 1,500 passengers of Legend of The Seas cruise ship.

Makers markets are staged in the Port Hedland Courthouse Gallery gardens in conjunction with a visit by cruise ship Legend of the Sea.

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November A glazing treatment by Western Australian artist Penny Bovell is installed on the façade of the workplace directorate at St. John of God Midland Public Hospital.

A preview event is held at The Goods Shed in Claremont, launching the initiative with the local community. Approximately 100 guests attend to hear about the upcoming facility renovation and program.

All equipment purchased via the ‘Pitch in for a Kitchen’ crowdfunding campaign arrives at 100 Hampton Road Entry sculpture by Western Australian artist Simon Gilby is installed at St. John of God Midland Public Hospital A fermentation workshop is held at the Pretty Pool Provedore for 22 people.

Cruise ship markets take place in Port Hedland for 2,500 passengers of Radiance of The Seas cruise ship.

Seven residents from 100 Hampton Road are employed by Taste Budds Studio to cater for a Fremantle Foundation event.

WE CALL IT HOME OPENING PORT HEDLAND COURTHOUSE GALLERY. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

A fifth ‘Art After Dark’ event takes place at the Port Hedland Courthouse Gallery. FORM curator Mollie Hewitt discusses collecting Aboriginal art.

Spinifex Hill Studios hold an open studio exhibition and art market.

A second projection artwork by Sohan Ariel Hayes is installed at the Old Treasury Building, Perth.

Installation of Lauren Nannup’s First Contact sculpture begins at Perth’s Elizabeth Quay development.

December A ‘late-night shopping’ mini-market is hosted at the Port Hedland Courthouse Gallery for local makers to sell Christmas product.

FORM received an Award of Merit, and the inaugural Innovation Award for PUBLIC 2015, within the Visual Communication: Professional, Exhibition category of the DIA WA Awards 2015.

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SECTION 1

STUDIO PRACTICE & RESIDENCIES

SUBSTRATUM, CARLY SCOUFOS, HANDWOVEN COPPER WIRE, 30X4X2M, 2015. PHOTOGRAPH BY BEWLEY SHAYLOR, 2016.

SECTION 1

S EC T I O N H EA DING

SHADOW, IAN STRANGE INSTALLATION DETAIL, PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

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Ian Strange: SHADOW was a solo exhibition by Perth-born, New York-based artist Ian Strange, commissioned by FORM for PUBLIC 2015, and developed with the support of the Western Australian Department of Culture and of the Australia Council for the Arts, as a part of a three-month residency granted by the Central Institute of Technology’s 2015 artist-in-residence program. The project was Strange’s first body of work produced in his hometown since leaving Western Australia in 2008, premiering during PUBLIC 2015 as part of a suite of Festival exhibitions articulating various responses to place.

Currently one of the most successful Western Australian-born visual artists on the international stage, Strange began his creative practice as a street and graffiti artist in Perth’s western suburbs, under the moniker Kidzoom. Since relocating interstate, and then to New York in 2008, his practice has grown to encompass gallery-based installations, photographic and filmed works, and large-scale interventions in the built environment.

For the past six years he has exclusively investigated the family home and suburbia, and their multifarious connotations within contemporary social, economic and cultural contexts. SHADOW follows from his previous bodies of work that make use of real houses (and life-sized reconstructions), HOME (2011), Suburban (2013), Final Act (2014) and Landed (2014), developed in communities across Australia, the United States, and New Zealand, countries in which the suburban home has come to suggest distinct social, psychological and economical meanings.

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landscape. Between January and April 2015 he undertook five new site-specific interventions on to homes in the suburbs of Perth, working in collaboration with producers, a professional film crew, and volunteers. The five modest post war, prosperity era red brick suburban homes were meticulously landscaped, restored and painted, each taking over two weeks to prepare, paint, then light, photograph and film. The resulting images are among Strange’s most restrained to date, initially appearing to have been achieved with backlighting, before one realises that the homes themselves have been painted. A film work, also titled Shadow, was developed over 15 days, in and around the suburbs of Perth, as well as 5 days spent in a studio, meticulously shooting found and reconstructed objects and elements from the Australian suburbs.

The resulting exhibition occupied a pop-up gallery in a former retail space on Murray Street, a few meters away from FORM Gallery. The space was entirely blacked out, with artworks dimly spotlit, enhancing the uncanny qualities of the works, and delighting the more than 1,000 visitors who flocked to the opening event. In total the exhibition was seen by 1,762 people over a 28 day run.

FORM approached Strange in early 2013 with an invitation to develop a new body of work for PUBLIC, in recognition of his growing international profile and background in street art. The development of the project began with a research trip to the Pilbara in late 2013, investigating potential sites for intervention.

Although Strange eventually decided to focus his attention on suburban Perth, the absurdity of suburban dwellings with lush green lawns amongst the vast Pilbara landscape of red dust and searing heat provided a resonant source of inspiration.

SHADOW followed directly from Strange’s 2014 Landed installation for the Adelaide Biennale, in which a house, painted entirely in matt black, appeared to have fallen from the sky and half-buried itself in front of the Art Gallery of South Australia.

For Strange, the next logical step was to black-out real houses, literally transforming them into voids etched out of the suburban

‘It’s conflicted [Strange’s relationship with the suburbs] because it’s a place I simultaneously find fascinating and also felt the need to escape from when I was younger. It’s also something I continue to make work about in my adult life.’

SU R VEY R ESPOND ENT.

BEHIND THE SCENES OF IAN STRANGE’S SHADOW P HOTOGRAPH COURTESY OF IAN STRANGE, 2015.

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PAGE 2 5 BEHIND THE SCENES OF IAN STRANGE’S SHADOW. PHOTOGRAPH COURTESY OF IAN STRANGE, 2015.

Uneasy. It explores an aspect of suburban life that has been everpresent but ambiguous.

Having grown up in the western suburbs this feeling he provoked within me has always been there, it was very familiar.

SU RVEY RESP O NDENT.

BEHIND THE SCENES OF IAN STRANGE’S SHADOW. PHOTOGRAPH COURTESY OF IAN STRANGE, 2015.

It was a dark and mysterious investigation into suburbia, invoking thought about what we find so appealing about it.

S UR V E Y R ES P O N D E N T.

89% 95%

of people agreed the exhibition was well though through and put together. of people agreed the artist was not afraid to try new things.

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THE GOODS SHED

THE GOODS SHED VIP PREVIEW PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

The Goods Shed will be a new studio development and creative hub for Western Australia, located in one of the State’s oldest railway buildings, constructed at Claremont train station for freight storage in the early 1900s. Since being decommissioned as a Goods Shed, the site has been used primarily as a storage unit for a number of charities, as well as housing a boiler makers, the signage for which remains today.

THE GOODS SHED P HOTOGRAPH BY BEWLEY SHAYLOR, 2015.

Newly renovated and scheduled to open in April, in conjunction with PUBLIC 2016, The Goods Shed will become the urban base of FORM’s residency program, that annually invites a curated selection of Australian and international artists and creatives to spend time in locations across the state, developing new work in conjunction with diverse communities. Creatives-inresidence will present showcasing, community access and education programming for Perth audiences at The Goods Shed, with programming curated to include participation from local community groups working at a grass roots level, through to high level international leaders offering insights from a global perspective.

As the urban hub for FORM’s residency program, The Goods Shed represents a new and innovative model for creative programming in Western Australia, functioning as a creative lab in which visiting artists can test ideas and premier new work in direct conversation with the local community. Claremont has strong historical links to Western Australia’s regions as the site of the annual Royal Agricultural Society show, and as such is the ideal location to showcase outcomes of FORM’s regional programming, further strengthening ties between the State’s urban and regional communities.

The Goods Shed will additionally link Claremont’s town centre with a new residential precinct, and the Claremont Showgrounds, located to the west of the railway line. As such it represents an innovative new community hub for a growing suburb with, historically, limited cultural amenity, thereby fostering new audiences for contemporary art in Western Australia.

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THE GOODS SHED P HOTOGRAPH BY BEWLEY SHAYLOR, 2015.

THE GOODS SHED VIP PREVIEW PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

THE GOODS SHED P HOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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LANDSCAPE SURROUNDING WITTENOOM S HOT DURING PENNIE JAGIELLO’S PILBARA RESIDENCY. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

BROOCH SERIES, NATALIA MILOSZ-PIEKARSKA MIXED MEDIA. 2015.

PHOTOGRAPH BY ANDREW BARCHAM, 2015.

WORN LAND In 2014 four prominent Melbourne artists, Yuko Fuijta, Nicky Hepburn, Pennie Jagiello, and Natalia Milosz-Piekarska undertook residencies with FORM in Port Hedland, in Western Australia’s North West. As part of their visit to the region the jewellers conducted workshops and programs with the local community and Aboriginal artists, undertook field-trips, and began the research and development for a body of work in response to the landscape.

Resulting from this residency program is an immersive, experiential exhibition, Worn Land, opening at The Goods Shed in 2016, which will transport visitors into the grand landscapes and the minute details of the Pilbara as experienced by these four Victorian artists.

Worn Land explores the disorienting intersection of desire and displacement that can accompany our experience of place.

Yuko Fujita, Nicky Hepburn, Pennie Jagiello, and Natalia MiloszPiekarska have created works in response to their residencies in the Pilbara, and the results engage with an ungraspable and resistant landscape through explorations of materiality and scale.

LANDSCAPE S HOT DURING PENNIE JAGIELLO’S PILBARA RESIDENCY. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

Since early colonisation, Australian landscapes have frequently been conceived of as actively resistant to Western knowledge and the non-Indigenous body, a trope that persists even in contemporary explorations into remote and regional Western Australia. Throughout their residencies in the Pilbara, Fujita, Hepburn, Jagiello, and Milosz-Piekarska ventured into some of the most isolated parts of northern Western Australia. Working both with and in response to materials found within these places, the resident jewellers are developing immersive works that explore the relationship between the body and these remote environments.

The exhibition experience has been extensively designed

by FORM in partnership with The Experience Business (UK)

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PAGE 3 3 PENNIE JAGIELLO AT HEARSON’S COVE DURING HER PILBARA RESIDENCY. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015

LANDSCAPE SURROUNDING WITTENOOM SHOT DURING PENNIE JAGIELLO’S PILBARA RESIDENCY. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

UNTITLED, YUKO FUJITA MIXED MEDIA, 2015 PHOTOGRAPH BY ANDREW BARCHAM, 2015.

PENNIE JAGIELLO DURING HER PILBARA RESIDENCY. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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RECRAFTED Recrafted, featuring Nandita Kumar (India) and NeSpoon (Poland) was presented as part of PUBLIC 2015. Although both artists have distinct practices, they share an interest in hybrid forms and an innovative approach to materials as they explore the impact of modern cities and the built environment on culture, society, and the body.

Nandita Kumar’s practice is concerned with the synergy and tensions between nature and our urban environment. Her work aims to create immersive environmental spaces and explore the elemental processes by which humanity constructs meaning from their experience. She constructs sensory/ narrative experiences through the use of various materials plus sound, video/animation, performance, and technology or through smartphone apps, customized motherboards, and solar/ microwave sensors.

ELEMENT: EARTH, NANDITA KUMAR GLASS BOTTLE, WOOD, ACRYLIC SHEETS, WIRE, SOLAR CELLS, BATTERY, SENSORS, COPPER, SILVER SOLDERING, PCB BOARD COMPONENTS, 40 X 60CM.PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

NeSpoon is an artist from Warsaw, Poland who is interested in how our built environment, particularly abandoned and desolate spaces can be infused with beauty, and life. For NeSpoon, lace has a universal aesthetic code, which is embedded in every culture. Lace offers symmetry, order and harmony. She uses the ornate patterns of lace in the creation of ‘public jewellery’, creating pretty work to transform gritty, urban locations which challenge divisions between street art, craft, and femininity.

STUDIES, NESPOON PORCELAIN AND STENCILS ON MIXED MEDIA. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

ENTANGLEMENT, NESPOON L IGHT PANEL AND INSTALLATION. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

Increasingly, cross overs and collaborations across cultures, disciplines and sectors are revealing different ways of living and working. In the world of networks and webs Nandita Kumar and NeSpoon create for Recrafted oppositions collapse as the digital and tactile merge, public and private are turned inside out and traditional divisions between craft and technology, old and new, past and present are reconsidered.

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126.22HZ, NANDITA KUMAR ACRYLIC SHEETS, COPPER, DIMENSIONS VARIABLE. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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BEDAZZLE

AT THE BAR, REBECCA DAGNALL BEDAZZLE WORK IN PROGRESS, 2015.

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BEDAZZLE ARTISTS IN RESIDENCE THEA COSTANTINO, TARRYN GILL, AND REBECCA DAGNALL P HOTOGRAPH BY ANDREW NICHOLLS, 2015.

Situated 1,500 km north of Perth, in the middle of Western Australia’s vast and remote East Pilbara, Marble Bar is the quintessential outback town. Known world-wide as ‘Australia’s hottest town’ following its unsurpassed world record heat wave of 160 days over 37.8 °C during the summer of 1923-1924, it has never recorded a temperature below 0 °C. A gold mining community boasting a population of 5,000 at the height of the 1890s Western Australian gold rush, its population has dwindled to fewer than 200 today. Nonetheless it is rich in local folklore and idiosyncratic myth.

In early 2015 FORM invited some of Western Australia’s leading mid-career photographers to undertake a residency in the town, and engage with the local community. The resulting exhibition, Bedazzle, will open in 2016, showcasing the outcomes of their residency.

The participating photographers are all renowned for their narrative use of the photographic medium in exploring and critiquing Australian nationalism and post-colonial history. FORM invited them to turn their attention to the evocative landscape of the East Pilbara, and draw upon the history of one of Australia’s most iconic regional communities.

The artists spent five days in and around Marble Bar, and shooting in a number of the town’s most iconic locations including Comet Gold Mine, the abandoned Telfer Tin mine, the Roman Catholic Church, Pioneer Cemetery, and the ‘Marble Bar’ itself. Drawing upon the town’s history and broader narratives of the Australian outback and settler culture, Marble Bar and its surrounding landscape provided an ideal location in which to stage a series of gothic narratives that are at once playful and unsettling.

The outcomes of this research will show in Perth and at the Port Hedland Courthouse Gallery in 2016, providing a new understanding of Australia’s hottest town, in the world’s largest shire. A second Bedazzle residency is scheduled to take place in Kalgoorlie in early 2016, providing an opportunity to engage with another iconic Western Australian Gold Rush community.

BEDAZZLE ARTISTS IN RESIDENCE THEA COSTANTINO, TARRYN GILL, AND REBECCA DAGNALL P HOTOGRAPH BY ANDREW NICHOLLS, 2015.

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SECTION 2

A RT I N PLACE

UNTITLED, DALEAST LEEDERVILLE. PHOTOGRAPH BY JARRAD SENG, 2015.

SECTION 2

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PUBLIC O V E RV I E W ‘We know PUBLIC as one of the best cultural urban art actions worldwide and we really appreciate your evolution.’

E D OA R D O T R ES O L D I , A RT I S T, 2 0 1 5.

PUBLIC explores the relationship between creativity and the public good. As a program, PUBLIC has faith in some simple principles: that art belongs in everyday spaces as well as galleries, that creativity is essential for the well-being and health of our urban environments, and that everybody deserves access to arts and culture. One of PUBLIC’s ways to explore these ideas is through urban and street art: large scale murals that the general public is invited to watch being completed by local, national, and international artists, both in our most densely populated urban spaces and in regional locales such as the Pilbara and the Wheatbelt. This year the program also featured a major Symposium where artists and urban innovators came together for three days to discuss the ways creativity can help make our cities and neighbourhoods equitable and vibrant places to live. Rounding out the program were a number of exhibitions, where both emerging, established, and remotelybased artists explored the importance of place to identity, culture, and meaning. PUBLIC 2015 was the second instalment in what is, at present, a three year program, and it received an Award of Merit and the inaugural Innovation Award within the Visual Communication: Professional, Exhibition category of the DIA WA Awards 2015. The sections that follow outline PUBLIC 2015’s components in more detail.

‘PUBLIC has widened the awareness and accessibility or art and design within the broader community, deepened the state’s cultural identity and recognises the calibre of our local artists within international standards.’

I N N OVAT I O N AWA R D, DI A ( WA ) 2 0 1 5 AWA R DS .

‘The sheer scale, bold vision and evident tenacity of an organisation to successfully achieve such a well-designed strategy for a state-wide project is an exemplar of true innovation and inventiveness.’

UNTITLED, CURIOT PERTH. PHOTOGRAPH BY JARRAD SENG, 2015.

I N N OVAT I O N AWA R D, DI A ( WA ) 2 0 1 5 AWA R DS .

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PUBLIC SYMPOSIUM

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‘I feel like jumping out of my skin and immediately doing something momentous as a result of this Symposium. There is a real sense of something marvellous beginning to happen and I want to be part of it.’

S UR V E Y R ES P O N D E N T

Perth’s isolation has meant that we are often victim to a significant talent drain, however it is the same isolation that holds the potential for genuine innovation. FORM believes that facilitating opportunities for thought leadership is vital for the creative ecology of Western Australia, to help combat our isolation and make the most of our distinctiveness. The PUBLIC Symposium 2015 allowed us to bring a diverse group of international creative innovators together to discuss these conditions within the vibrant context of the second annual PUBLIC Art in the City Festival.

The PUBLIC Symposium was held at the State Theatre Centre of Western Australia from the 15th to the 17th April. It built on FORM’s substantial track record of research and speaker programs, established in 2007 when FORM hosted Charles Landry as a ‘Specialist in Residence’, simultaneously facilitating conversations between Landry and Carol Coletta at His Majesty’s Theatre. FORM’s subsequent Comparative Capitals (2008) research taught us that talented Perth people need vibrant conversations and places in order to encourage them to invest their time and skills into Western Australia, rather than other places around the globe. Energy Cities (2010) tracked the importance of creative economies in cities, like Perth, that are primarily driven by the resources industry.

PUBLIC SYMPOSIUM, 2015 STATE THEATRE CENTRE OF WA. PHOTOGRAPH BY DAVID DARE PARKER, 2015.

‘Fantastic speakers and outstanding event. I hope to attend future symposiums.’

SU RVEY RESP O NDENT

Since publishing this research FORM has endeavoured to address the need for vibrant creative spaces within our State.

From 2014, the ongoing PUBLIC program has worked, at a broad level, to enact what we learnt from that research. FORM is committed to making Western Australia’s public places more interesting, making art more visible and relevant to a wide section of the population, and continually encouraging discussion and debate about our future.

SY M P O S I UM S P E A K E R S T HO M AU S S E M S , N E T HE R L A N DS J O HN B E L A , U S A J ES P E R C HR I S T I A N S E N , DE N M A R K C A R O L CO L E T TA , U S A PAU L CO L L A R D, U K P E T E R CO R B E T T, U S A T HE A S T E R GAT ES , U S A FENELLA KERNEBONE, NSW N A N DI TA K U M A R , I N DI A K E N S O N K WO K , S I N GA P O R E C HA R L ES L A N DR Y, U K L EO VA N LO O N , N E T HE R L A N DS JOSH MCMANUS, USA GE E TA M E HTA , I N DI A S TO R M I E M I L L S , WA A L I S O N PAGE , N S W E N R I Q U E P E N A LO S A , CO LO M B I A HE T T I P E R K I N S , N S W ERMA RANIERI, SA T I M O S A N TA L A , F I N L A N D I A N S T R A N GE , WA / U S A GEO F F WA R N , WA

The PUBLIC Symposium featured an illustrious panel of speakers from Australia and across the world, including artists, entrepreneurs, city experts and urban game changers drawn from diverse backgrounds and disciplines, who all share a passion for making our cities and neighbourhoods equitable and healthy places in which creativity and innovation can flourish. Speakers’ sessions took place over three days, with an accompanying program of creative labs in which participants were able to get up close and personal with the speakers, while also giving them the opportunity to raise issues pertinent to them. The broader PUBLIC festival program allowed for participating creatives and symposium attendees to socialise at exhibition openings and laneway parties, while watching the PUBLIC artists at work.

To ensure a broad mix of participation from across the community, 70 PUBLIC Symposium tickets were gifted to a selection of ‘community leaders’ from Western Australia’s creative industries who applied to FORM in writing during the weeks leading up to the event. This allowed a diverse group of artists, designers, writers and students to attend the Symposium alongside paid ticket holders from government, the design and architecture industries, and academia.

FORM’s speaker program will continue into 2016 with the launch of The Goods Shed, which will feature an ongoing program of talks, workshops and creative labs running concurrently with the Shed’s residency program.

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98% 90% 96% 92%

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TIMO SANTALA AT THE PUBLIC SYMPOSIUM, 2015 PHOTOGRAPH BY DAVID DARE PARKER, 2015.

of people agreed the Symposium was absorbing and held their attention.

‘Fantastic. FORM deserve a huge congratulations. The street art plus the Symposium really showcase what a fantastic city Perth is along with enabling us to see our future potential.

The discussions had during the course of this have been really inspiring - there are so many people in Perth doing great creative things to make it better. How can we continue this motivation?’

of people agreed the Symposium could engage people from different backgrounds. of people agreed the Symposium was of value/ importance for WA. of people agreed the Symposium seemed well thought through and put together.

S UR V E Y R ES P O N D E N T

THEASTER GATES AT THE PUBLIC SYMPOSIUM, 2015 PHOTOGRAPH BY DAVID DARE PARKER, 2015.

CAROL COLETTA AT THE PUBLIC SYMPOS IUM, 2015 PHOTOGRAPH BY DAVID DARE PARKER, 2015.

ALISON PAGE AT THE PUBLIC SYMPOSIUM, 2 015.

PHOTOGRAPH BY MARTINE PERRET, 2015.

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PUBLIC A RT I N THE CITY UNTITLED, EKO NUGROHO PERTH. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

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97% 98% 96%

PUBLIC Art in the City was a free urban art festival that saw 63 murals created by 60 international and Australian urban artists in a selection of metropolitan centres around Perth in late March and early April 2015.

While the inaugural urban PUBLIC Festival in 2014 focused largely on the Perth CBD and Northbridge, FORM drastically expanded its geographical reach in 2015 to encompass a number of Perth’s most iconic ‘urban villages’. These included Chinatown, Claremont, Fremantle, Leederville, Northbridge, and Victoria Park. The installation of murals in Victoria Park began in conjunction with the opening of the PUBLIC Salon exhibition on 23 March, with the majority of other walls painted between 10 and 19 April.

This proved to be a massive logistical undertaking, demanding the use of 20 scissor lifts, 36 elevated work platforms, 12 knuckle booms and 5 trailer mounted booms, along with a number of paid operators and volunteers. Individual maps were produced for each precinct, allowing members of the public to undertake tours of the murals-in-progress and engage with the artists at work. The wall-based works were accompanied by a program of complimentary exhibitions and events, including the PUBLIC Symposium between 15 and 17 April.

of people would come to something like this again.

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UNTITLED, BRETT CHAN L EEDERVILLE. PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

of people agreed that it is important that PUBLIC happens here. of people agreed PUBLIC was absorbing and held their attention.

The city feels active, alive and you want to be part of the action. It also spurs on my other creative efforts.

It’s inspiring, and a good place to gather with friends.

It feels bigger than what I’d traditionally expect Perth to offer.

SU RVEY RESP O NDENT

As with the inaugural festival in 2014, FORM’s aim with PUBLIC 2015 was to bring art into public spaces, foster non-traditional arts audiences, and encourage the community to experience art and their city in a unique way. The increased scale of the festival in 2015 allowed us to build significantly on our festival audience, and we estimate that as many as 50,000 members of the public engaged with the program in 2015.

UNTITLED, BRENTON SEE F REMANTLE. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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REPEATING SHAPES, ELIAN VICTORIA PARK. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

Have lived in the city for years, public art is definitely one of the best changes Perth has done in quite some time! Great work to all the artists, thank you for making my home come alive!

S UR V E Y R ES P O N D E N T

PUBLIC makes Perth infinitely more interesting and vibrant! I’m so proud to be a part of this city.

UNTITLED, NESPOON CHINATOWN, NORTHBRIDGE. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

S URV EY RES POND ENT

ROAD TO NOWHERE, FINTAN MAGEE CLAREMONT. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

PRAYING MANTIS, AMOK ISLAND FREMANTLE. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

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I think it is such a valuable event for Perth culture, and something that I hope continues to develop in the future!

SU RVEY RESP O NDENT UNTITLED, MONEYLESS CLAREMONT. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

UNTITLED, PHLEGM FREMANTLE. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

It was fantastic. It is one of the few initiatives that makes Perth feel like a truly international city and does immeasurable good for Perth.

S UR V E Y R ES P O N D E N T

TRICKLE DOWN, HOSAE LEEDERVILLE. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

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PUBLIC SALON PUBLIC Salon 2015 built upon the very positive response to FORM’s initial PUBLIC Salon exhibition in 2014. While the inaugural exhibition at FORM Gallery comprised only artworks by artists already participating in the PUBLIC festival, the response from artists, the general public and collectors was so overwhelmingly positive that FORM decided to expand the exhibition for 2015 via an open call to Western Australian artists at all stages of their careers. Thus, the final exhibition comprised a curated selection of over 200 artworks by 100 Western Australian artists with a particular (but not exclusive) focus on urban and street art, hung salon-style across two floors.

Following the unprecedented response to FORM’s curatorial call-out for the exhibition, it soon became clear that a larger space than FORM Gallery would be required to house the works.

After viewing a number of potential venues, the curatorial team were delighted when Victoria Park icon John Hughes volunteered to donate the use of his former motorcycle warehouse on Albany Highway, a huge and evocative space ideally located at the gateway to Victoria Park, which was to be one of the major festival precincts for 2015. The curatorial team spent three days installing the exhibition, with FORM Board Chairman Paul Chamberlain loaning two motorcycles (and accompanying jackets and helmets) for the space, in an affectionate nod to the building’s former life. Though this was a playful gesture, it was in keeping with PUBLIC’s interest in unearthing forgotten histories of the Western Australian sites it engages.

The Salon opened to the public in a ‘soft’ opening on 23 March, and ran until 26 April, 2015. During this time it functioned as a major festival hub, hosting a number of events including the official PUBLIC Festival launch on 10 April, and acting as the starting point for the walking tour of Victoria Park’s PUBLIC murals. Three murals were painted in the laneway directly behind the Salon building, by Ayres, Gerard Martin, and Shrink and Ghost (with additional collaborative elements by Hayley Welsh and Rob Jenkins), respectively. A fourth mural, by Ian Mutch, was installed in the main exhibition space, acting as a centrepiece for the Salon show. A Curators’ tour of the Salon and laneway murals took place on 31 March for FORM members and the general public.

The official PUBLIC launch event was hosted at the Salon on 9 April, attracting an enthusiastic audience of over 1000 people.

The Festival was opened by Trevor Vaughan the Mayor of the Town Victoria Park, with the official opening followed by an Art Battles event and auction (hosted by Art Lab) and a sausage sizzle by the Vic Park Collective. The Salon additionally acted as a venue for a creative lab with visiting speaker Timo Santala, that formed part of the PUBLIC Symposium program, on Sunday 5 April.

PUBLIC Salon 2015 was one of the most popular events in the Festival calendar, attracting a number of first-time audience members for FORM and resulting in a high number of sales for Western Australian artists. The exhibition’s salon format saw works by first-time exhibitors hung alongside pieces by wellestablished street and contemporary artists, reflecting PUBLIC’s democratic approach to creativity.

PAGE 5 9 PUBLIC SALON OPENING PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

We love that there was graffiti/art taking place on the side of the building at the time we visited/viewed finished pieces.

S UR V E Y R ES P O N D E N T

PUBLIC SALON OPENING PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

Fantastic opportunity to experience accessible art in an accessible space.

Making art part of everyday WA…Love it! Well done.

S UR V E Y R ES P O N D E N T

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PUBLIC A RT I N T H E W H E A T B E LT

UNTITLED, HENSE CBH AVON GRAIN SILOS, NORTHAM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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‘Painting the grain silos in Northam was amazing, one of the most interesting structures and projects I’ve worked on: an interesting location and landscape as well as scale, surface and function. This was also my first trip to Australia and I truly can say that it was a once in a lifetime experience.’

H E N S E , P U B L I C A RT I S T.

In 2015, PUBLIC’s regional program expanded north-east of Perth into the Western Australian Wheatbelt, where internationally acclaimed British artist Phlegm, and American Hense, completed a series of 38 metre, 10-storey high murals across eight monumental, fully functional storage towers belonging the State’s grain handler, CBH. Over a fortnight-long installation period, Phlegm painted a group of black and white storybook characters manning impossible flying machines, while Hense created a densely-layered abstract design.

The Wheatbelt represents one of Western Australia’s most evocative regional landscapes, iconic within the State’s social history as our economic powerhouse before the resources industry. However, much like the Pilbara, it is known more for its economic significance than as a tourist destination. As with FORM’s PUBLIC - Art in the Pilbara programming, the silo artworks were conceived to raise the profile and build the reputation of an often overlooked region as a destination for significant, internationally-relevant culture.

UNTITLED, HENSE C BH AVON GRAIN SILOS, NORTHAM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

As the silos were being completed, on a wall off Northam’s main street, Perth artist Chris Nixon’s mural of an orange vintage mini offered a playful take on the town’s history and attractions.

Painted on the weekend of a vintage car rally, his work drew local onlookers to witness art imitating life. This shared experience became a connection point, giving locals reason to pause on their familiar sidewalks and take ownership of their walls.

Overall, FORM’s pilot Wheatbelt programming sought to build on a strong sense of place, agricultural heritage, and community, with the long term aim being to help develop cultural tourism in the Wheatbelt and celebrate the striking rural and agricultural landscapes of Western Australia. The silos have become a vivid landmark visible from the stretch of highway connecting Northam to Perth, and a playful honouring of the town’s mainstay agricultural industry.

In 2016 FORM will continue to expand our regional profile through further PUBLIC interventions in the Wheatbelt, and a new pilot residency project in the goldfields.

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UNTITLED, PHLEGM CBH AVON GRAIN SILOS, NORTHAM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

‘Artworks were vibrant, friendly, and welcoming.

Appreciation of farming life and local history.’

S U R V E Y RES P O NDENT

95%

of people would come to something like this again.

93%

of people agreed that the art could engage people from different backgrounds.

UNTITLED, PHLEGM AND HENSE CBH AVON GRAIN SILOS, NORTHAM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

FLYING 50, CHRIS NIXON NORTHAM. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

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PAGE 67 UNTITLED, NESPOON SOUTH HEDLAND HIGH SCHOOL. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

PUBLIC A RT I N THE PILBARA PUBLIC 2015 saw the second annual iteration of Art in the Pilbara, a regional residency program for a selection of Australian and international artists participating in the PUBLIC festival. Nine PUBLIC artists travelled to the Pilbara in 2015, accompanied by FORM staff, Aboriginal guides, photographers and filmmakers.

The 2015 program began with the Converge residency and exhibition by Beastman and Vans the Omega, at the Port Hedland Courthouse Gallery. Following PUBLIC Art in the City, participating international artists Moneyless, NeSpoon, DALeast, Pastel, Elian, Andrew Hem and Curiot spent five days travelling throughout the Pilbara visiting regional centres such as Karratha, Roebourne and Port Hedland as well as iconic landscapes such as the Burrup Peninsular and the Millstream Chichester National Park. Artists were accompanied and toured throughout the region by Ngarluma men Clinton Walker, Keith Churnside, and Andrew Dowding.

As in 2014, the aim of the residency was to offer the international artists a broader context through which to see Western Australia, from the rich Aboriginal culture and heritage that exists alongside large-scale industrial resource developments, and to provide an opportunity for the Hedland community to enjoy and build on the existing international street art in the region.

Four of the artists (NeSpoon, DALeast, Pastel and Moneyless) stayed on to complete an engagement with Hedland Senior High School, PUBLIC School, through which they delivered a unique and inspiring learning experience to students by creating authentic community based arts-education collaboration between the High School and FORM. PUBLIC School involved creating site-specific, iconic, and permanent public artwork on the high school campus. The short term residency also included giving the students learning opportunities through question and answer facilitated by the artists.

Student Yusef Tuando said he felt lucky to have seen the ‘tremendous’ artworks: ‘I thought the art gallery excursion was interesting and inspiring.’

UNTITLED, DALEAST AND PASTEL SOUTH HEDLAND HIGH SCHOOL. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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PAGE 69 UNTITLED, NESPOON SOUTH HEDLAND HIGH SCHOOL. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

UNTITLED, DALEAST AND PASTEL SOUTH HEDLAND HIGH SCHOOL. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

UNTITLED, DALEAST AND PASTEL SOUTH HEDLAND HIGH SCHOOL. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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100 HAMPTON ROAD

‘I am really enjoying the art classes. I never thought I would be any good but Ian [de Souza] has showed me some really simple things and I completed my first piece last week.

When will the classes be starting again?’

H A DY N , 1 0 0 HA M P TO N R OA D R ES I DE N T.

100 HAMPTON ROAD NEIGHBOURS JACK AND KR ISTY MAKING BREAD WITH JOHN. PHOTOGRAPH BY JEAN-PAUL HO RRÉ, 2015.

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PAGE 73 DRAWING WORKSHOP WITH IAN DE SOUZA PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

‘What I like most about the programs is being with others as I tend to be mostly on my own.’

P E T E , F O R M E R 1 00 HA M P TON ROAD RES IDENT.

The 100 Hampton Road project commenced in April 2014 with the aim of creating an enriched living and social environment for the 192 residents of WA’s largest lodging house. It uses an integrated strategy of carefully curated community engagement and upgrades to shared spaces to transform 100 Hampton Road from a blighted complex with a poor reputation into a community asset. The approach is multi layered, grounded in community development and placemaking principles, based on mutual respect, reciprocity and expectation and aimed at curating a strong sense of place. The strategies have included: Resident engagement: A social program aimed at connecting residents, building skills and developing a supportive community within 100 Hampton Road. Outcomes have seen the development of products for sale at local markets, employment opportunities and the establishment a resident leadership group.

Building beautification: Improving liveability and increasing pride through the creation of active and upgraded shared common spaces where none were really available to residents previously and landscaping the forecourt and entrance. Nine rooms including the foyer have been transformed with new furnishings, a library of donated books established in the common room, ten murals created by national and international artists in the shared spaces, and the entrance to the building landscaped.

Community development: Establishing connections between residents, the neighbourhood, local business and community services through a range of projects including the collaborative map, neighbourhood newsletters, a program of marketing and communications, market stalls and the development of branded products.

As such, the project aimed to: 1. Build the social capacity of lodging house residents; 2. Increase opportunities for residents to participate, contribute and be represented to local culture and community; 3. Develop stronger connections between the local neighbourhood, community and lodging house residents; 4. Enhance the quality, experience and liveability of 100 Hampton Road; 5. Enable the creation and installation of public artwork of a world class standard that acts as a legacy to the local community; and,

TERRARIUM WORKSHOP WITH IZZIE AND QUEENIE PHOTOGRAPH BY JEAN-PAUL HO RRÉ, 2015.

6. D eliver a pilot project within the context of affordable housing that has a broader application to the community services and urban planning sector.

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NURSE’S UNIFORM LIGHTBOX, EVA FERNANDEZ PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

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DEREK AND KAT WITH FOOD RESCUE PRODUCE P HOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

In addition, a critical moment for the ongoing legacy of the project has been winning the local Impact 100 grant through the Fremantle Foundation to upgrade the Hampton Road Kitchen.

A collective grant whereby 100 local people donated $1000 this showed the community’s willingness to support a bold and visionary project and firmly established the 100 Hampton Road project in the minds of the Fremantle community.

The landscaping and redesign of the forecourt and entrance from a disused, unattractive space into a welcoming courtyard and gathering area completed at the end of the first year is a tangible demonstration of the change taking place in the building. The upgraded entrance overseen by international design team, AECOM provides opportunities for residents to connect with each other and the local community and shows that 100 Hampton Road is a place to be proud of.

‘I’ve lived here for 14 years and I have never seen anything like this. It needs to happen more often. It brings people out of their rooms and we get to meet new people.’

P ET E, 100 H AMP TO N ROAD RES ID E N T.

Independent evaluation of the project across the first year has demonstrated a statistically significant impact. Residents have reported an increased sense of place, confidence and community pride. 100 Hampton Road is becoming a recognised community asset and a brand that has been profiled locally and internationally.

Key achievements over 2015 include: 1. Regular employment and other micro enterprise opportunities for residents; 2. Landscaping the forecourt and entrance to create a place of pride for residents; 3. The delivery of a commercial kitchen to allow onsite training, cooking classes and shared meals; 4. The delivery of three artworks as an outcome of Western Australian artist Eva Fernadez’s residency; and, 5. The engagement of local business, community members and neighbours attending events and BBQs, donating furniture to residents and supporting the crowdfunding campaign to raise funds to equip the kitchen.

The entire first year program at 100 Hampton Road is a tribute to the power of partnerships, from the initial investment from BHP Billiton, to the volunteers who assisted in the delivery of activities and worked with residents to transform shared spaces, the local businesses who donated soil, greenery and paving to the landscaping, to the Impact 100 Fremantle community who awarded funding to upgrade the kitchen.

DRAWING WORKSHOP WITH IAN DE SOUZA P HOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

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FLOATING ARBOUR, NED KAHN B ROOKFIELD TOWER TWO, 2015. PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO, 2015.

P U B L I C A RT

Introduction

Elizabeth Quay

FORM’s Public Art stream is a self-supporting program that draws on research and strategic thinking in order to help facilitate creativity in our urban environment. Our team of architects, art consultants, curators, writers, and place strategists actively seek out projects that contribute meaningfully to the place where they are installed. Working collaboratively with artists, architects, fabricators, government, and the private sector allows FORM to offer a full service approach to public art commissions.

Furthermore, our focus on stakeholder engagement, creative development and strategy, curation, design, fabrication, installation, and ongoing programming, allows us to actively encourage and assist first-time applicants, ensuring that art in Western Australia’s public spaces is as diverse as possible.

FORM has been working on behalf of the Metropolitan Redevelopment Authority (MRA) on the procurement and delivery of a major Noongar public artwork for the Elizabeth Quay development, Laurel Nannup’s First Contact. Designed as part of a Land.Mark.Art workshop delivered by FORM in consultation with the South West Aboriginal Land and Sea Council (SWALSC) in 2013, First Contact has gone through a process of design development throughout 2014 and 2015 including a number of workshops with FORM and specialist public art fabricators Urban Art Projects, in both Perth and Brisbane. A site visit to the Brisbane fabricators occurred in early August with FORM and the Nannups to checking on the progress of the sculpture and finalise any last details. The final work was fabricated and installed in late 2015, with the site opened and the artwork officially launched in January, 2016.

2015 has been a watershed year for FORM’s Public Art program, witnessing the delivery of major, multi-year projects, such as Perth Airport, where high quality public art outcomes will be seen by millions of domestic and international travellers, as well as legacy projects such as Noongar artist Laurel Nannup’s First Contact artwork in Elizabeth Quay. FORM’s portfolio of projects that follow continue to offer Western Australian, interstate, and international artists opportunities to participate in building an inspiring and diverse urban environment.

Perth Airport In 2013 FORM was selected to develop an art program for showcase within the gateway to Perth, the Perth International Airport, which is utilised by four million international, and over nine million domestic travellers annually. This project is currently ongoing, encompassing numerous opportunities within the airport site, including Terminals 1 and 2, and the BRAVO and Co-generation buildings. Commissioned artists for the project to date are Penny Coss (WA), Christian Fletcher (WA), Penelope Forlano (WA), Kyle Hughes-Odgers (WA), Tom Muller (WA), Nike Savvas (NSW), Carly Scoufos (Qld), and Nick Statham (WA). Six of these resulting artworks, (by Penny Coss, Penelope Forlano, Tom Muller, Nike Savvas, Carly Scoufos, and Nick Statham), were installed at the airport during 2015. The resulting works have been featured in The Sunday Times, The West Australian, on Channels 7 and 9 news, We Love Perth, and Perth Airport Website. 2016 will see the development of an Aboriginal art program focused on the new airport forecourt.

Brookfield Place Tower Two FORM was engaged by Brookfield as the art consultant for Brookfield Place Tower 2, after successfully developing and delivering the art strategy for Tower 1 in 2012. American environmental artist and sculptor Ned Kahn was commissioned

by Brookfield for this opportunity. The installation of his work took place in August 2015, with the site opened to the public at the end of 2015.

Old Treasury Building Office Tower Three Western Australian artists, Sohan Ariel Hayes, Marcus Canning, Tom Muller, and Matthew Harding from Victoria, were commissioned for the Old Treasury Building in 2013, with the works installed during 2015. In December 2014, four artists were additionally commissioned to develop concept design proposals for an interactive place-making opportunity. Artist Sohan Ariel Hayes was selected for this opportunity, producing a responsive installation within a reflective pool in the courtyard that is scheduled to launch in early 2016.

IN RAINBOWS, NIKE SAVVAS, SUSPENDED SCULPTURE FOR TERMINAL 1 ARRIVALS, PERTH AIRPORT, 2015.

PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO AGENCY, 2015.

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PAGE 8 1 6D CITY 7, SOHAN ARIEL HAYES DIGITAL PROJECTION, DIMENSIONS VARIABLE, OLD TREASURY BUILDING. PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO AGENCY, 2015.

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Perth Stadium As part of the Westadium Consortium (Brookfield Multiplex and Hassell), FORM has been awarded the art consultancy role for the Perth Stadium. This project commenced early 2012 and is due for completion in early 2018. There will be four artworks procured through the Percent for Art scheme, and eight Land.Mark.Art concepts privately procured through Precinct Sponsorship. The first Percent for Art artwork, a Land Art opportunity, is currently being procured. EOIs from artists all around the world were received, shortlisted to six in August.

The six artists/teams presented Concept Design Proposals to the Selection Committee in late September, with a final selection being made in late 2015. The first of the Land.Mark.

Art workshops was held in June 2015, and Westadium’s artwork recommendations have been presented to the State and the Whadjuk Working Party with an announcement expected toward the end of 2015.

FLOATING ON AIR, IAN DOWLING SJG MIDLAND PUBLIC AND PRIVATE HOSPITAL, 2015. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

SLOW DRIFT EFFECT, PENNY COSS VINYL GLAZING, PERTH AIRPORT TERMINAL 1 ARRIVALS, 2015. PHOTOGRAPH BY BEWLEY SHAYLOR, 2016.

Midland Health Campus A number of Western Australian artists were selected for opportunities at the new Midland Health Campus, including Deborah Bonar, Penny Bovell, Peter Dailey, Ian Dowling, Peter Farmer Designs, Simon Gilby, Thomas Hoareau, Rob McCulloch, Ian Mutch, Tony Pankiw, Jahne Rees, and Monique Tippet. This suite of works includes four shade canopies by Peter Farmer Designs, developed through Land.Mark.Art workshops in 2014. All artworks were fabricated and installed during 2015.

Waterbank The project provides several opportunities for local and national artists as well as an opportunity to implement the Land.Mark.Art strategy. FORM’s public art strategy was submitted to Lend Lease in April as part of the development application, with further work is expected to start in early 2016 once Lend Lease has DA approval.

570-574 William Street Local artist Kyle Hughes-Odgers is currently completing design development for the two commissions at 570-574 William Street, interpreting local community icons.

Claremont on the Park Mirvac have contracted FORM to create and deliver a public art strategy for their Claremont on the Park development. This project is a part of a larger precinct development coordinated by LandCorp. Western Australian artist Lorenna Grant has been contracted for two artwork opportunities, including bespoke, integrated screens and a wall-based entry sculpture. Design development of the screens has taken place, with sample panels recently installed at the display suite on site. Design development of the entry sculpture commenced in late 2015, with the project due for completion in 2017.

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FROM THE SKIES, PENELOPE FORLANO TIMBER, FIBREBOARD, LED LIGHTING, PERTH AIRPORT TERMINAL 1, 2015. PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO AGENCY, 2015.

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The Bottleyard

Kishorn Road Development

Handle Property Group have contracted FORM to procure a number of artworks for the multi-residential Northbridge development, The Bottleyard, occupying the site of a former early-twentieth-century bottle yard. The artworks will be a mix of large scale street art murals and a sculptural work. Bottle fragments unearthed during the site’s earthworks in late 2015 will provide inspiration to the commissioned artists, whose works will go into development in 2016.

Stirling Capital recently selected FORM as Art Consultants for the proposed residential and commercial development on Kishorn Road, Mount Pleasant. This development includes a ‘Community Benefit Tenancy’ for which FORM have been commissioned to write a strategy/approach. A draft strategy for both the Public Art and Community Benefit Tenancy have been submitted to City of Melville to be included in the Development Application. A brief for a 90m lighting installation opportunity is currently with a shortlist of artists.

Karratha Quarter

CRISS CROSS I, II, AND III, TOM MÙLLER ALIMINIUM, OPAL ACRYLIC, AND LED LIGHTING, PERTH AIRPORT, 2015. PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO AGENCY, 2015.

Crown Towers Perth Crown Perth selected FORM as the art consultant for their new 500 room development at Burswood. Procurement for the guest rooms, lobby, public podium level, and VIP area is ongoing, with final installation projected for mid-2016. Concept designs from 15 Australian artists have been reviewed for the opportunities located in the guest rooms, suites, villas and VIP areas. FORM has presented a number of curated options based on these concept designs for each space. Concepts have been received well by Crown Global VP and are currently being refined with interior designers for each space. New areas currently being investigated for artwork opportunities include the gym and spa, all day dining, podium public areas, and corridors.

Quattro FORM is working with BHP and Jaxon Construction in their delivery of the Quattro Residential Development in South Hedland. FORM has developed an art strategy that aligns with the Town of Port Hedland’s public art strategy. Artwork opportunities identified include iconic entry sculptures and a unique, artist designed artwork applied to the balustrades of the building at the corner of Daylesford Close and Murdoch Drive.

FORM held a Land.Mark.Art workshop in November 2014 at the Spinifex Hill Studio in South Hedland with four local artists, from whom two have been selected: Ted Byrne and Frank Footscray.

These opportunities will be the first public art commission for both selected artists. The artwork for the balustrades and the sculpture has been developed and approved by the Town of Port Hedland. Both balustrades and sculpture will be installed by early 2016.

After an extensive tender period, Doric and LandCorp are now at a stage to continue developing concept designs for a large scale screen and canopy for the Karratha Town Centre. These designs were developed by Jill and Merinda Churnside in a Land.

Mark.Art workshop in late 2014. Samples of the Jill’s screen design have been reviewed, and design development of the canopy is currently taking place in close collaboration with the architects, Hassell. Landcorp have asked FORM to work with Merinda to create a design for an alternative canopy, which is currently undergoing design development. The project is due for completion in May 2016.

Rowe Avenue BGC have approached FORM to work with them to deliver the public art for a mixed use development in Belmont. The site will hold the new Aloft Hotel, multi-level carpark, and significant commercial space. FORM developed a Public Art Strategy to highlight artwork opportunities, which was included as a part of their Building License in May 2015. FORM and BGC have finalised a shortlist of Western Australian artists, who will be contacted once the Artist Briefs are approved by the local council. FORM has also provided artwork consultancy for the procurement of interior artwork for the sample hotel room, at BGC’s request.

Chevron Elizabeth Quay Chevron recently selected FORM as Art Consultants for the proposed Chevron Elizabeth Quay headquarters building. FORM has submitted an Art Strategy document outlining a broad range of artwork opportunities from which a number (dependent on budget) will be selected. This strategy forms part of the Development Application package to the city council. FORM is currently awaiting feedback from Chevron and the City of Perth regarding the art strategy.

Midland Saleyards FORM recently submitted a draft Public Art Strategy to Linc Property to be included in the Development Application for the Midland Saleyards. The clients (FJM and Linc Property) have been invited to submit a proposal to the MRA for the site based on their Stage 1 EOI submission. FORM has identified 5 artwork opportunities on the site, of which a number will be selected to be commissioned based on the final budget. FORM is awaiting feedback from the MRA on the strategy.

Harvest Lakes BGC recently approached FORM to assist in the public art procurement for a residential development in Cockburn. FORM’s Public Art Strategy outlined a number of integrated opportunities for artists to respond to. Following a Concept Design Stage, two local artists, Alistair Yiap and Kyle Hughes Odgers, have presented their concepts to the selection panel. One artist is expected to be commissioned by late 2015, with the expected completion date of the project in early 2017.

Bridges Road Melville From 2015 (ongoing) this is public art procurement for a small residential development in Melville, and will consist of the procurement of an artist designed screen and gate. Western Australian artist Troy Barbitta has been selected.

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SECTION 3

C R E AT I V E REGIONAL COMMUNITIES

UNTITLED, MATTHEW HARDING, STAINLESS STEEL, 9X2.4M, OLD TREASURY BUILDING. PHOTOGRAPH BY ROBERT FRITH - ACORN PHOTO AGENCY, 2015.

SECTION 3

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P O RT H E D L A N D C O U RT H O U S E G A L L E RY

BEASTMAN & VANS THE OMEGA’S MURAL ANZ BUILDING, WEDGE STREET, PORT HEDLAND, 2015. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

Since 2008 the Port Hedland Courthouse Gallery has been at the heart of FORM’s programming in the Pilbara, providing a space for the broader community to access and engage with local, national, and international culture. Through a program that spans exhibitions, creative workshops, public programs, and events, the Courthouse Gallery aims to showcase the cultural experience of the Pilbara, through the lens of both those who live there, and those from outside its borders.

The Courthouse Gallery’s first major exhibition of 2015 was Converge: a topographical abstraction of the Pilbara, by internationally-renowned Australian street artists Beastman (NSW) and Vans the Omega (SA). The exhibition opened in March as the first event of PUBLIC 2015, and was the centrepiece of PUBLIC Art in the Pilbara. Both artists created works inspired by the Pilbara landscape, deriving colours and forms from this unique environment after undertaking a residency in the region during the lead up to their exhibition. The artworks in the exhibition included solo works on board, as well as two significant collaborative works (the first time these artists had collaborated in the studio). Accompanying the exhibition, Beastman and Vans the Omega completed a large-scale mural in Port Hedland’s West End, in keeping with the themes and colour palette of their exhibition works.

Showing alongside Converge, in the Gallery’s smaller exhibition spaces was A Dot on the Run. This was FORM’s inaugural survey exhibition of works on paper by Western Australian artists, its title inspired by Paul Klee’s quote, ‘A line is a dot that went for a walk’.

Currently the State’s only survey exhibition of contemporary Western Australian drawing, A Dot on the Run represented an opportunity for 31 artists from across the State to exhibit their drawings to a Pilbara audience, while allowing local Pilbara artists to exhibit alongside some of the most established artists in Western Australia.

Following these two exhibitions in June was We Call it Home, a near sell-out group exhibition from the Spinifex Hill Artists, Port Hedland’s only professional Aboriginal and Torres Strait Islander artist collective. This exhibition was also the group’s first touring show, travelling to FORM’s Perth Gallery in September, where it enjoyed a similarly rapturous response. Accompanying We Call it Home was This is the Pilbara, a photographic exhibition from ABC Open, which since its launch in 2010 has collected and showcased more than 75,000 contributions from regional Australians. The exhibition comprised works by Pilbara-based photographers and filmmakers drawing inspiration from the region’s dramatic landscape and community. Following We Call it Home was the annual Hedland Art Awards, which in 2015 attracted a record number of entries. Both We Call it Home and the Hedland Art Awards are reported on in more detail in subsequent sections of this report.

The year of programming at the Port Hedland Courthouse Gallery was rounded out by Summer Stock, a curated selection of works from the gallery stockroom, which opened in conjunction with the Halloween edition of the West End Markets.

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PAGE 9 3 SUBURBAN DEFENCE LEAGUE - AFTER KWAY TEOW, ANDY QUILTY BALLPOINT PEN, GRAPHITE AND AEROSOL ON ARCHES, 50.5 X 60CM, 2015. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

‘I was able to identify with the natural surrounds & colours’ S UR V E Y R ES P O N D E N T, F O R CO N V E R GE .

BEASTMAN & VANS THE OMEGA’S MURAL IN PROGRESS ANZ BUILDING, WEDGE STREET, PORT HEDLAND, 2015.

PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

93% 96% 90%

of people agreed CONVERGE was absorbing and held their attention. of people agreed they would attend the gallery again to view an exhibition similar to CONVERGE. of people agreed it was important CONVERGE was happening in Port Hedland.

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P O RT H E D L A N D WORKSHOPS

DOUGLAS KIRSOP ARTIST CAMP AT DE GREY STATION. PHOTOGRAPH BY SAMANTHA BELL, 2015.

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‘Douglas was so clear in his explanations and demonstrations of how to use colour, use the light, tone and contrast and perspective.’

SU RVEY RESP O NDENT, O N D O U G LAS KIRS O P PAIN T IN G W O RKS H O P S .

Throughout the year, FORM, through the Port Hedland Courthouse Gallery, provides opportunities for Pilbara artists, practitioners, and community members to further their artistic skills and confidence, through professional development workshops.. The workshops are designed to enhance the quality of products at the West End Makers’ Markets in addition to elevating the level of artistic merit of the Hedland Art Awards.

FORM sees these skill development opportunities as vital, as there is limited access to professional mentors with diverse and international experience in Port Hedland and the Pilbara.

Visual Merchandising Workshop. The first business workshop focused on Visual Merchandising, highlighting to participants how they can better attract, engage, and serve the customer.

The workshop covered the basic principles and purpose of visual merchandising. 25 people attended the evening workshop, many of these being regular stallholders at the West End Markets.

Ian de Souza workshop. The first of FORM’s arts development artist workshops was led by established contemporary artist Ian de Souza. Experienced in a number of mediums, Ian drew on his twenty-five years of painting practice and challenged participants to push their conceptual boundaries and work outside traditional painting techniques.

Initially experimenting with charcoal and paper to create loose drawings, participants were asked to consider new forms of free-thinking by experimenting with Ian’s dynamic methods of expression. The second part of the workshop focused on colour mixing techniques and applying tonal values.

A Good Looking Man. Perth-based furniture maker Andrew Christie facilitated two one-day workshops for IBN Corporation members, where participants learnt how to build timber furniture.

In the first workshop, Andrew showed the participants how to make an easy timber stool which is a base for more complex furniture designs including chairs, tables, shelves, and lights. The second workshop had 14 participants, most had never made furniture before, but by the end of the day, all walked away with

the skills to make simple stools and to make simple stools and boxes from recycled materials.

Andrew’s second workshop in Port Hedland was as part of the town’s Celebrate WA festivities. Individuals and families attended the workshop which was structured for children to assist parents with simple tasks. Andrew showed the participants how to make an easy timber stool.

At the end of the year Andrew delivered a second series of workshops for IBN Corporation members with the aim for participants to create enough small furniture pieces to hold a market stall in 2016. The workshops involved the production of a series of stools and coffee tables. The group also made a series of outdoor barbeque tables for the recreation area of IBN Services in Wedgefield. These workshops are the beginning of a series that will continue throughout 2016 in the lead up to ongoing Aboriginal art markets at Spinifex Hill Studios.

De Grey Station Artist Camp. FORM, in partnership with De Grey Station, hosted new and emerging painters for this year’s artist camp. Led by Douglas Kirsop, the two-day camp at De Grey Station allowed participants to observe Kirsop’s practice, and under his guidance, develop a complete work. Kirsop guided participants throughout the weekend, including sketching their artwork plan, demonstrating his practice in watercolours, gouache, and oils. At the end of the workshop, the participants had further developed their painting and colour mixing skills to be able to complete their own work.

Bedazzle – Painting with Light workshop. This workshop encouraged participating photographers to develop conceptual aspects of their photographic practice, and explore the potential of photography as a narrative tool. The guest artists, Thea Costantino, Rebecca Dagnall, and Tarryn Gill, discussed their use of photography in creating haunting and darkly humorous narratives that interrogate Western Australia’s past and present.

Participants also learnt new techniques for ‘painting with light’ to create dramatic and theatrical effects.

DOUGLAS KIRSOP ARTIST CAMP A T DE GREY STATION. PHOTOGRAPH BY SAMANTHA BELL, 2015.

C R E AT I VE REG IONA L COMMUNITIES

Textiles Workshop. A two-part textiles workshop series was facilitated at the Courthouse Gallery. The first workshop enabled participants to explore and learn about textiles from around the world, looking closely at two prominent Australian fabric designers Utopia Goods and Bonnie and Neil. Participants were also able to learn about textile design and manufacturing techniques. Participants walked away with at least two designs, screen printed onto bags, tea towels and linen.

PUBLIC School. In collaboration with Hedland Senior High School, PUBLIC School delivered a unique and inspiring learning experience to students by creating a community-based artseducation collaboration between the High School and FORM. The project brought four internationally renowned artists from diverse backgrounds to undertake short-term residencies creating site-specific, iconic, and permanent public artwork on the high school campus. The short term residency also included giving the students learning opportunities through question and answer facilitated by the artists. Three outcomes of this project included: - The development of a high quality, permanent artwork at the school created by internationally renowned artists.

- Authentic learning opportunities for Hedland students to experience face-to-face mentorship with internationally renowned artists.

- Hedland High School’s participation in FORM’s PUBLIC 2015 project, exploring the relationship between art and community well-being.

‘Gained a greater understanding of stories within pictures.’

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‘A better understanding of photography and I’m willing to start learning much more about it.’

‘Loved the whole lot. The artistic passion has really inspired me and helped me believe in myself.’

S UR V E Y R ES P O N D E N T, O N B E DA Z Z L E – PA I N T I N G WI T H L I GHT WO R KS HO P.

S UR V E Y R ES P O N D E N T, O N I A N DE S O U Z A PA I N T I N G WO R KS HO P.

A GOOD LOOKING MAN WORKSHOPS PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

C R E AT I VE REG IONA L COMMUNITIES

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HEDLAND A R T AWA R D S

The 2015 Hedland Art Awards opened at the Port Hedland Courthouse Gallery in August, and saw an increased prize pool (from $60,000 to over $100,000) and extended eligibility to artists from the Mid-West, Kimberley, Pilbara, Gascoyne, and Goldfields. This growth meant that this year’s Awards attracted extremely high quality work from artists and art centres across regional Western Australia. The 2015 judging panel comprised University of Western Australia senior lecturer and independent arts writer Dr. Darren Jorgensen, Western Australian painter Penny Coss, and independent curator, writer, and artist Kate Mullen.

Approximately 200 entries were received and 79 of these artworks were selected to be exhibited in the Awards. This marks the biggest year yet for applications, and has ensured a highly competitive pre-selection and judging process. Due to the high quality of works entered, the Awards demonstrated an increased level of overall artistic excellence in 2015.

In 2015, a total of 14 Aboriginal art centres submitted works for consideration for the Awards, the highest level of participation from art centres since the Awards’ launch. This resulted in an increased diversity of style and material: artworks spanning paintings, sculpture, and textiles. This multiplicity, alongside the increased prize pool, establishes the Hedland Art Awards as a rival to the richest regional art awards in Australia.

An increase in prize money also saw an increase in public programming around the Hedland Art Awards. Professional photographer Bewley Shaylor delivered a workshop focused on high quality documentation of artwork, artist Helen Ansell ran a colour mixing workshop, artist Penny Coss ran a kids abstract painting workshop at the West End Markets, where Aboriginal Art Centres participating in the Awards were also represented.

As in previous years, the Hedland Art Awards public programming also included a judge’s walk through of the Awards the day after the judging.

Each year FORM supports Aboriginal art centres to travel to the awards and participate in the public programming. In 2015 three art centres travel to Hedland for the awards. The art centre staff were hosted at Spinifex Hill Studios for a networking opportunity as part of the public program immediately after the Awards, and both Martumili Artists and Tjukurba Gallery help successful market stalls at the West End Markets following the Awards opening.

The 2015 Hedland Art Awards opening kicked of the weekend of the North West Festival, taking the opportunity to showcase Western Australian artistic talent to visitors.

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Most Outstanding Work ($30,000)

Best work by an Indigenous Artist ($20,000)

DA L L A S SY M T H E , F R O M TJ A N P I DES E RT WE AV E R S F O R M Y CO UNT R Y .

W I L L I A M N YA P UR U GA R D I N E R , F R O M S P I N I F E X HI L L A RT I S T S , F O R U N T I T L E D.

Best Work by a Non-Indigenous Artist ($20,000)

Kathy Donnelly Judges Award ($10,000)

L EO N I E C A N N O N , F O R R O E BO U R NE , A N D WES L E Y M A S E L L I F O R W H AT ’ S T H AT SK I P ?

N A DA R AW L I N S , O F M A N GK A J A A RT S F O R Y I M I R R I .

Best Work in a Medium other than Painting ($8,000)

Best Sculptural Work ($8,000)

TO M M Y M AY, O F M A N GK A J A A RT S , F O R K U RTA L .

A M A N DA F I R E N ZE - P E N T N E Y F O R M Y ST R E E T.

Youth Award (under 25) ($2,500)

Encouragement Award ($2,000)

H O WA R D H O L D E R , F O R 210 0 A D.

W I N N I E S A M P I , O F S P I N I F E X H I L L A RT I ST S , F O R M Y CO UNT R Y, M Y H O M E , M Y C A ST L E O F M A NY CO LO UR S.

HEDLAND ART AWARDS OPENING PORT HEDLAND COURTHOUSE GALLERY, 2015.

PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

C R E AT I VE REG IONA L COMMUNITIES

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PAGE 1 0 3 YIMIRRI, NADA RAWLINS (MANGKAJA ARTS) ACRYLIC ON CANVAS, 90 X 90CM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

ENCOURAGEMENT AWARD, MY COUNTRY, MY HOME, MY CASTLE OF MANY COLOURS, WINNIE SAMPI (SPINIFEX HILL ARTISTS) ACRYLIC ON CANVAS, 35.5 X 45.5CM. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

HEDLAND ART AWARDS OPENING PORT HEDLAND COURTHOUSE GALLERY, 2015.

PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

KATE MULLEN JUDGING THE HEDLAND ART AWARDS PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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P O RT H E D L A N D VISITOR CENTRE In late 2012, FORM was appointed as the new management for the Port Hedland Visitor Centre, and commenced on the redesign and refurbishment of the building. In April 2013 the new Visitor Centre opened to the public and has since received an A Class Tourist Centre classification.

The Centre’s programming includes management of a local history tour, and the very popular BHP Billiton Iron Ore tour, cruise ship programming, and the development of cultural tourism product, such as printed guides to the town’s distinctive public artworks. In 2015 a new publication Pilbara Pathfinder – Adventure Awaits was launched, a comprehensive destination guide showcasing highlights of the region and promoting local accommodation, attractions, and tour options.

During 2015 the Visitor Centre partnered with the Town of Port Hedland on a number of new promotional initiatives, including The Next Tide, the Town’s inaugural economic summit, and coordinating promotion of The North West Festival, an annual highlight of the community’s entertainment calendar that attracts significant internal tourism from across the region. In conjunction with the Centre’s ongoing delivery of makers’ markets and cultural product targeted toward cruise ship tourism, the Visitor Centre’s Manager Natasha Fry and Mayor of Port Hedland, Kelly Howlett undertook a promotional tour to Perth to raise awareness of the Town as a cruise ship destination. This tour was complemented by the production of a promotional video commissioned by the Pilbara Development Commission and the Town of Port Hedland, which showcased FORM’s numerous cultural initiatives in the Town alongside Port Hedland’s natural and industrial resources.

CRUISE SHIP PASSENGERS AT THE PORT HEDLAND VISITOR CENTR E PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

2015 additionally allowed the Visitor Centre to draw upon research undertaken throughout 2014 via a survey campaign.

The economic data collected evidenced the significant impact of road-based tourism for the Town of Port Hedland. This data allowed the Centre to partner with the Town on a free camping initiative for the 2015 tourist season which attracted a $500,000 investment.

The Visitor Centre’s proximity to the Port Hedland Courthouse Gallery and gardens allows for cross-promotional opportunities and cross-venue creative programming. 2015 saw the Centre establish a number of such initiatives, aimed at promoting Port

Hedland and the region as a destination for cultural tourism. A program of activities for Celebrate WA Day in June represented the establishment of a new cultural event for the Town, and the only official WA Day event in the Pilbara. In May the Centre managed the logistics and promotion of an event by travelling restaurant Fervor, who presented a degustation menu in the Port Hedland Courthouse Gallery gardens for 40 guests, serving native, foraged foods from an open kitchen. This sought to highlight food culture in the Town ahead of the launch of FORM’s Pretty Pool Provedore later in the year.

In September, FORM staff spoke at the annual Tourism WA conference, drawing upon FORM’s experience in the Pilbara over the past decade. The focus of their presentation was on collaboration with artists and creatives to develop tourism product capable of generating sustainable income streams for local artists, with special focus on working with Aboriginal artists on the development of authentic and ethical product with ongoing community benefits.

S EC T I O N H EA DING

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PRETTY POOL PROVEDORE

PRETTY POOL PROVEDORE PORT HEDLAND. PHOTOGRAPH

BY MIRIAM SHERIDAN, 2015.

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Absolutely loved our breakfast, scrambled eggs creamy and delicious. The French Toast with berries and pomegranate exceptional.

Staff friendly and attentive, this Pretty Pool Provedore rocks! Oh a by the way, the coffee is the best.

L ES L E Y R O W E , V I A FAC E B O O K 5/ 5 S TA R S .

In 2014, FORM was engaged for the design, fit-out, and ongoing management of a 200 square metre commercial space in Port Hedland’s East End neighbourhood, Pretty Pool. The Pretty Pool Provedore is a licensed venue offering a café menu complemented by take home meals and products, and aims to offer a new community hub in the East End that was lacking any sort of amenity, and as such formed part of FORM’s ongoing engagement with the Port Hedland community. The management of the Pretty Pool Provedore is designed to dovetail with FOPRM’s existing cultural programming in the region through the Port Hedland Courthouse Gallery and the Port Hedland Visitor Centre.

PRETTY POOL PROVEDORE PORT HEDLAND. PHOTOGRAPH

BY MIRIAM SHERIDAN, 2015.

The Pretty Pool Provedore formally opened on Friday, 19th June after a soft opening (trial run) from 13th – 18th June. The public reception of the soft opening was heartening, with a line forming at the front door at 7am on the first day of trade. Many of these patrons walked to the venue from their homes in Pretty Pool, showing the local community’s support for the new venture.

I had a beautiful breakfast at Provedore this morning - great coffee, lovely staff, gorgeous decor and delicious food! I had the french toast and it was yum.

Will definitely be back (probably tomorrow!).

As part of the 2015 North West Festival activities in Port Hedland, the Provedore worked with Town of Port Hedland to host a post-Hedland Art Awards dinner on Thursday 20th August. The dinner was attended by attendees and sponsors of the Hedland Art Awards, North West Festival, and the Economic Summit’s key note speakers.

L AU R A GEE, VI A FACE BOOK 5/5 S TARS .

PRETTY POOL PROVEDORE PORT HEDLAND. PHOTOGRAPH

BY MIRIAM SHERIDAN, 2015.

Global skincare brand Aesop, in partnership with the Courthouse Gallery, hosted a special morning tea and product sampling event at the Provedore for VIP Gallery customers on Thursday, August 20th. A series of fermentation workshops were held with local business Just Jerky. The workshops focused on the development of fermented products which can be made at home including kefir milk, sauerkraut, and kombucha, with the aim to develop stallholders’ product at the West End Makers’ Markets.

C R E AT I VE REG IONA L COMMUNITIES

WEST END MARKETS

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KITE FLYING AT THE WEST END MARKETS: VISUAL ARTS EDITION PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

C R E AT I VE REG IONA L COMMUNITIES GLASS ARTIST WORKING AT THE WEST END MARKETS: VISUAL ARTS EDITION PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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A highlight of the West End Markets for 2015 was a series of studio visits and interviews with local craft practitioners that were published in the North-West Telegraph in the lead up to the first market of the year. These interviews aimed to give the public an insight into the creative process of these practitioners.

VISUAL ARTIST PENNY COSS FACILITATING A CHILDRENS ART WORKSHOP AT THE WEST END MARKETS: VISUAL ARTS EDITION. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

An important element of the West End Markets program is the professional development offered to participating small businesses. The professional development program aims to ensure a high quality and diverse product offering at the Markets, alongside supporting presentation and promotion of these businesses. This year stallholders were invited to participate in shopfront merchandising techniques, making and visual arts workshops, and product photography.

WILLIAM NYAPURU GARDINER PERFORMING AT THE WEST END MARKETS: VISUAL ARTS EDITION PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

The West End Markets, now in their fifth year of programming, continue to support a large number of local craft practitioners, and other small businesses in Port Hedland. Although the Town of Port Hedland has experienced significant growth, there has not been a simultaneous growth in affordable retail spaces for small businesses. This is also true of a number of small artisan business from towns outside of Port Hedland including Karratha, Newman, Geraldton, and Fitzroy Crossing. Therefore, the West End Markets continues to offer these small businesses a regular and competitive platform through which to sell artisan product.

The Markets worked closely with the Port Hedland Courthouse Galley’s exhibition program, in particular the Hedland Art Awards, to offer the community ways of engaging with artists including visual artist Penny Coss and art centres Martumili and Tjukurba.

A resulting initiative was an experimental art workshop for children facilitated by Penny Coss which encouraged children to engage with colour and mark making. In a similar way, the Markets hosted Spare Parts Puppet Theatre to facilitate a puppet making workshop whereby children could develop their craft skills and expand their creative thinking.

Although there was a particular focus on children’s activities, audience development also included the engagement of Hedland’s younger workforce (18-35) which make up a large proportion of the Markets’ demographic. Building upon the successful food centred programming from the previous year, the Markets hosted a pop up bar and engaged a local collective to run a pop up restaurant in Glass Lane Park which was well received by the community.

FOCACCIAS, PRESERVES, AND JAMS CREATED BY THE PRETTY POOL PROVEDORE, ON SALE AT THE WEST END MARKETS. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

C R E AT I VE REG IONA L COMMUNITIES

SUGAR BLUE BURLESQUE PERFORMERS AT THE WEST END MARKETS: VISUAL ARTS EDITION. P HOTOGRAPH BY BEWLEY SHAYLOR, 2015.

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SECTION 4

ABORIGINAL C U LT U R A L DEVELOPMENT

ABORIGINAL ART CENTRE MARKET STALLS AT THE WEST END MARKETS: VISUAL ARTS EDITION. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

SECTION 4

A B O R I G I N A L C ULTURA L DEV ELOPMENT

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SPINIFEX HILL A RT I S T S

‘Spinifex Hill Studios [are] one of Australia’s newest, and most impressive, art centres and the most recent in a long line of distinguished forebears of Aboriginal art centres in Western Australia.’

S US A N M C C UL LO C H , OA M .

The Spinifex Hill Artists, initiated by FORM in 2008, provides free holistic professional development for Aboriginal and Torres Strait Islander artists in Port Hedland and surrounding communities. It was established to provide beginner, mid-career, and established Aboriginal artists with access to materials, creative and professional training, and arts education to bolster their knowledge and empower their practice. In 2014, FORM partnered with BHP Billiton and the Federal Government’s Regional Development Australia fund (with the land donated by the Department of Lands) to build a new 2.5 million dollar studio comprising two professional studio spaces with facilities for painting and three-dimensional work, residence for an art centre manager, gallery-standard artwork storage facilities, and gardens.

MAGGIE GREEN WITH HER PAINTING LEARNING US FOR WORKING PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

‘It’s good to be out here painting, to sit with the people and make friends and be happy.

Painting is like telling stories. Painting is about history, life talking about myself, and my parents and the past, what they taught me, bush tucker and bush medicines. I want to make a story for the young ones, the story behind, my grandkids can look at my paintings, my great grandkids. They might be carry it on in the future.’

B ERYL PONCE, S PINIFEX H ILL ARTIS T.

Building on the momentum gained with the opening of their new studios last year, 2015 has seen the continued resurgence of the Spinifex Hill Artists. The leading achievement has been the delivery of We Call it Home, the group’s second exhibition, at the Port Hedland Courthouse Gallery. 20 artists exhibited 37 artworks to an exceptionally positive public reception, with 30 of the artworks selling in the 8-week exhibition. The exhibition toured to FORM Gallery in Perth, marking the first exhibition for the group outside the Pilbara.

The group also received broad exposure for its emerging artists, with three artists selected for the Revealed showcase at Gallery Central in Perth. In March, two artists were selected for the Dot on the Run exhibition at the Port Hedland Courthouse Gallery, and one artist exhibited at the Salon des Refuses in Darwin. The artists also had strong representation in many major Western Australian art awards. Four artists were selected for the Midwest Art Prize (Geraldton), and two artists were selected for the Mandjar Art Awards (Mandurah). 5 artists exhibited in the Cossack Art Prize 2015 with Doreen Chapman winning the prize for the Best Painting by a Western Australian Indigenous Artist. Eleven artists exhibited in the 2015 Hedland Art Awards with William Nyaparu Gardiner winning the Best Work by an Indigenous Artist, and Winnie Sampi winning the Judges’ Encouragement Award.

The artist group grew in numbers and average daily attendance, resulting in an upsurge in productivity. More paintings were made than any other period in the group’s history. Core artist numbers also rose from 35 to 38 members in 2015, and it has been particularly encouraging to increase our male core artist numbers.

Artists were also offered a variety of professional development opportunities in 2015, with five workshops delivered at the studios over ten sessions. In February four artists were involved with a painting workshop delivered by Ian de Souza. In March four artists participated in a furniture making workshop with Andrew Christie (A Good Looking Man), and eight artists designed tea towels in a textiles workshop facilitated by Helen Ansell in June. In April two artists travelled to Perth for three days of professional development with their contemporaries as part of the 2015 Revealed showcase. In August six artists were mentored in a workshop delivered by Western Australian artist Penny Coss.

As a result of the Spinifex Hill Artists’ success in 2015 they are currently working towards a group exhibition in Darwin in 2016 and other national exhibiting opportunities.

A B O R I G I NA L C ULTURA L DEV ELOPMENT

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COUNTRY NO LONGER THE SAME WHERE MY OLD PEOPLE ONCE WALKED AND HUNTED, WINNIE SAMPI ACRYLIC ON CANVAS, 45.5 X 61CM, 2015.

PHOTOGRAPH BY GREG TAYLOR, 2015.

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WE CALL IT HOME ‘Lovely exhibition & beautiful work.’

S UR V E Y R ES P O N D E N T.

We Call it Home was an exhibition of acrylic on canvas works by the Spinifex Hill Artists. It was their first group exhibition since Before the Town Got Big in 2010, and their first group exhibition outside of the Pilbara. The exhibition included work by over 20 different artists, and showcased the remarkable talent emerging from the group over the past eighteen months. The exhibition launched in Port Hedland before travelling to Perth, with four artists attending the Perth opening. The exhibition was accompanied by a substantial publication which documented all of the exhibited works, and featured an essay be highly-regarded art historian Susan McCulloch.

We Call it Home was an exploration of the multiple and nuanced meanings of home to the Spinifex Hill Artists. Through their paintings, the artists shared with the audience stories about their lives and their relationship to Country in Port Hedland and across Western Australia. The Spinifex Hill Artists’ rich and evocative allowed the audience great insight into the depths of connections and knowledge that these artists hold to their Country.

In We Call it Home, home and belonging is figured as not only a relationship to place, but also through the integral value of connections formed with family, and through storytelling, and painting. The works and stories were grouped together in the exhibition according to the aspects of home they explored. For the Spinifex Hill Artists painting and storytelling is a powerful tool through which they can share knowledge with younger generations, and also communicate to others about their way of life and their complex and resonant cultural and personal identities.

The public program of We Call it Home included an Art Talk by Dr Darren Jorgensen about collecting Aboriginal art and the role of art centres (attended by 25 people), as well as an education package for upper primary and lower secondary students.

DOREEN CHAPMAN WITH HER PAINTING UNTITLED (PINK EMU) PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

S EC T I O N H EA DING

UNTITLED (SNAKE), DOREEN CH APMAN ACRYLIC ON CANVAS, 122 X 153CM, 2015.

PHOTOGRAPH BY GREG TAYLOR, 2015.

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S EC T I O N H EA DING

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‘Thank you for bringing some of the Pilbara to me in Perth.

I miss it there, and for a while I could reminisce and be immersed in it again.’

S UR V E Y R ES P O N D E N T.

SELENA BROWN AND MARIA OSMAN WITH SELENA’S PAINTING MARBLE BAR, MY COUNTRY PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

UNTITLED, DOREEN CHAPMAN ACRYLIC ON CANVAS, 91 X 91CM, 2014.

PHOTOGRAPH BY GREG TAYLOR, 2015.

93% 90%

of people agreed We Call it Home was absorbing and held their attention. of people agreed it had a connection to Western Australia.

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RADIANCE

RADIANCE (INSTALLATION DETAIL) FORM GALLERY, PERTH. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

FORM is currently in the formative stages of a new project collaborating with Aboriginal Art Centres, and will undertake research and consultation with communities to determine the scope and structure of the project throughout late 2015/early 2016. This will incorporate an exhibition and promotions program which will be showcased across the State.

After a soft opening as Power of Place as the cultural backdrop to the PUBLIC Symposium 2015, Radiance was the first of these collaborations exhibiting at FORM Gallery in Perth. The exhibition was a showcase of recent artwork by Indigenous artists from the desert art centres of Mimili Maku, Warnayaka, Tjungu Palya, Ernabella Arts, Papulankutja, Warlukurlangu and Ikuntji, seen by 852 people during its 44 day run. The artwork in Radiance represented the desert in canvases, displaying melodic patterning and bold gesture, resonating with the sensuality of colour and paint. These paintings invited the viewer to delve deeper into understanding the complex relationship between people and place, Country and community, the connection between past, present and future, and the linkages between the everyday and Tjukurrpa (Dreaming). This complex and interconnected web encompassing society, spirituality, land, ecology, and natural land management was evoked in the potency of this desert artwork.

In Radiance a diverse range of expressions revealed the richness of Indigenous creative and cultural traditions. Artists fully exploited the power of colour and light, creating radiant paintings that offer a compelling insight into being in and imagining place from the traditional owners of Desert Australia. The artistic vision represented in Radiance was in stark contrast to the idea of Australia’s interior that the explorer J.W. Gregory described in the memoirs of his journey The Dead Heart of Australia. Gregory concluded, ‘there is nothing on earth more desolate than its stony plains and bare clay-pots.’ Radiance revealed how Indigenous artists employ light, colour and pattern as luminescence, and its artists encourage us to expand our perception of the desert, so that we see and experience it anew.

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RADIANCE (INSTALLATION DETAIL) FORM GALLERY, PERTH. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

OPENING OF RADIANCE FORM GALLERY, PERTH. PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015

RADIANCE (INSTALLATION DETAIL) FORM GALLERY, PERTH. PHOTOGRAPH

BY BEWLEY SHAYLOR, 2015.

OPENING OF RADIANCE FORM GALLERY, PERTH. PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015

A B O R I G I NA L C ULTURA L DEV ELOPMENT

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FIELD OF PTILOTUS NOBILIS IN THE PILBARA PHOTOGRAPHY BY GIOVANNI LARUSSO, 2015.

REMEMBER ME

‘Aboriginal land management practices were pragmatic and respectful of the interconnectedness between people and the ecosystem, between a healthy Country and human intervention.’

S H A R M I L A W O O D, C U R ATO R .

Remember Me was in development throughout 2015, and will result in an immersive and multi-artform exhibition that explores place and belonging, memory and loss, renewal and decay. This intercultural and collaborative initiative developed by FORM, the artist Fiona Foley, Yinhawangka, Banyjima and Nyiyaparli people of the Pilbara, and cinematographer Giovanni Larusso examines the subtleties of place and what it means to belong to Country through a deep investigation into Aboriginal plant use and botanical knowledge. Fiona Foley is one of Australia’s foremost contemporary artists and was commissioned by FORM to create a body of work for Remember Me in response to her time spent in the Pilbara with traditional owners.

Remember Me urges a reflection on the impact of race relations and colonisation on the intimate and complex understanding of place held by Indigenous people, and asks what the future could look like as time and knowledge passes on.

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REMEMBER ME PROJECT PARTICIPANT WALKING THROUGH PORTULACA CONSPICUA AT SUNSET OFF NANUTARRA ROAD PHOTOGRAPH BY RHIANNA PEZZANITI, 2015.

REMEMBER ME PROJECT PARTICIPANT WALKING THROUGH AERVA JAVANICA OUTSIDE OF PARABURDOO PHOTOGRAPH BY SHARMILA WO OD, 2015.

GREVILLEA WICKHAMII SUBSP HISPIDULA ON MUNJINA-ROY HILL ROAD. PHOTOGRAPH BY RHIANNA PEZZANITI, 2015.

GOMPHRENA CUNNINGHAMII IN THE PILBARA PHOTOGRAPH BY GIOVANNI LARUSSO, 2015.

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LANCE CHADD AND PATRICIA ROBINSON AT A LAND.MARK.ART WORSHOP PHOTOGRAPH BY CAROLYN KARNOVSKY, 2015.

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L A N D. M A R K . A RT

2015 saw FORM’s professional development program, Land.Mark.Art, continue to provide public art opportunities for Aboriginal artists in both Perth and the Pilbara.

Land.Mark.Art is a creative professional development program designed to enhance opportunities, skills, income, and employment for Aboriginal artists through public art initiatives.

The model provides artists with access to curators, designers, engineers, and fabrication facilities, and allows artists from primarily two-dimensional visual arts backgrounds opportunities to expand their practice into large scale sculptural works.

While this stream of programming offers great opportunities to Aboriginal practitioners, it also contributes to the richness of Western Australia’s built environment. Throughout 2015 the model was used in the following projects:

St John of God Midland Public and Private Hospitals In 2014, a two day Land.Mark.Art workshop was held with seven Aboriginal artists to develop concepts for four shade canopies at the Midland Public and Private Hospitals, with Peter and Miranda Farmer’s concepts selected. Following a period of design development, the shade canopies were installed on site in June 2015. The four shade canopies reference local species of flora which have long been used in Aboriginal culture for their medicinal qualities. The canopies are positioned in the park to the west of the hospital, creating a moment for reflection and shelter for visitors and patients.

WENDY HAYDEN AT A LAND.MARK.ART WORKSHOP PHOTOGRAPH BY CAROLYN KARNOVSKY, 2015.

Perth Stadium Along with a number of significant Percent for Art opportunities, the Perth Stadium project is also looking to commission a number of Aboriginal artworks that will be procured through the Land.Mark.Art process. A number of opportunities are available throughout the proposed play area of the site. FORM received a number of responds to the open EOI call out to Noongar artists. Working closely with Westadium (Brookfield Multiplex and architects HASSELL), FORM delivered a four day Land.Mark.Art workshop in June 2015.

Following this workshop, FORM continued to work with the artists to develop these ideas into concept design proposals.

Westadium’s artwork recommendations have been presented to the State, and discussed with representatives from the Whadjuk Working Party to ensure all public art content is culturally appropriate. FORM is currently liaising with selected artists and commencing contracting, with a public announcement expected in the coming months. The project is due for completion in early 2018.

Elizabeth Quay FORM has been working on behalf of the Metropolitan Redevelopment Authority (MRA) on the procurement and delivery of a major Noongar public artwork for the Elizabeth Quay development, Laurel Nannup’s First Contact. Designed as part of a Land.Mark.Art workshop delivered by FORM in consultation with the South West Aboriginal Land and Sea Council (SWALSC) in 2013, First Contact has gone through a process of design development throughout 2014 and 2015 including a number of workshops with FORM and specialist public art fabricators Urban Art Projects, in both Perth and Brisbane. A site visit to the Brisbane fabricators occurred in early August with FORM and the Nannups to checking on the progress of the sculpture and finalise any last details. The final work was fabricated and installed in late 2015, with the site to open and the artwork to be officially unveiled in 2016.

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SECTION 5

O RG A N I S AT I O N GRASS TREE, PETER FARMER DESIGNS SJG MIDLAND PUBLIC AND PRIVATE HOSPITAL, 2015.

PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

McGregor Street Project In late 2014, FORM was approached by Roy Hill and construction company Pindan to assist with the procurement of public artwork for a residential development located in Port Hedland. Roy Hill and Pindan have selected Spinifex Hill artist Maggie Green’s concepts from a previous Land.Mark.Art workshop for a shade canopy and a number of entry sculptures. These designs were realised through a collaboration with artist Maggie Green and architect Brad Ladyman. The works were installed in June 2015.

Quattro Working with BHP and Jaxon Construction, FORM has continued their delivery of the Land.Mark.Art outcomes for the Quattro Residential Development in South Hedland. Spinifex Hill Studio artists Teddy Byrne and Frank Footscray have worked with FORM and the fabricators to deliver their concepts from the 2014 Land.Mark.Art workshop. The iconic entry sculptures and a unique balustrade artwork are to be installed in early 2016.

SECTION 5

O R GA N I SATIO N

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OPENING OF RADIANCE, PERTH, PHOTOGRAPH BY JEAN-PAUL HORRÉ, 2015.

E VA L U A T I O N A N D AU D I E NC E ENGAGEMENT FORM is committed to creating unique and authentic cultural experiences for our members, partners, and the broader Western Australian community, and in developing new audiences for the visual arts in this State. From 2014, FORM’s PUBLIC program has proven increasingly effective in attracting non-traditional arts audiences to engage in contemporary practice in both Perth and the Pilbara. Throughout 2015, in addition to expanding PUBLIC’s reach into Perth’s urban villages and the Wheatbelt, FORM engaged in a number of activities designed to extend both the reach and impact of our broader programming.

In 2014, FORM was invited to participate in the Australia Council’s Audience Engagement Program for regional audiences, with the program concluding in mid-2015. Although the Program centred on our Port Hedland communities, FORM took the opportunity to develop a broader audience engagement strategy, whose framework and methodology can be transferred across all of our future programs and exhibitions, in both metropolitan and regional contexts. This strategy focused on thinking beyond what we aimed to deliver via programming, to how the audience would experience our projects.

Unlocking the social potential of the galleries is a popular audience strategy for institutions to increase footfall, but it was Art After Dark’s objective to reach beyond socialisation alone, and provide a platform for genuine experiences with the exhibitions. This was achieved through a thoughtful program of speakers and activities to enrich exhibitions’ content and provide access to participating artists and curators in a comfortable environment. At a broader level, the events were designed to enhance and connect local creative industries communities, allowing Pilbara artists and musicians the opportunities to make work and perform in front of a live crowd.

All of FORM’s engagement strategies are supported by ongoing evaluation to ensure that our approach is effective and responsive to our audiences’ needs. Throughout 2015, FORM participated in the trialling of the Department of Culture and the Arts evaluation system CultureCounts, both officially through using the systems’ interface for a number of specific exhibitions, and through using the CultureCounts dimensions for all of our surveying in 2015. The result of this was a consistent set of evaluation strategies implemented throughout the year.

While FORM’s audience engagement programming has always incorporated floor talks and workshops, this year we looked to diversify our audience segments to more specifically include younger people. In the north, the Courthouse Gallery developed a comprehensive audience engagement program for school aged children around PUBLIC 2015’s regional activities. It included a short-term international artist residency at a local high school which saw six artists immerse themselves in the school environment, painting collaborative and individual murals in the lunchtime courtyard and installing smaller, site specific works in landscaped areas. Other activities centred around Beastman and Vans the Omega’s Converge Exhibition at the Courthouse Gallery included excursions with an education kit and walking tours of the murals in the West End precinct. Beyond PUBLIC 2015, the Gallery continued to develop exhibition education kits for visiting school groups.

One of the activities with the greatest uptake from Port Hedland‘s community was the introduction of Art After Dark, a series of afterhours events that allowed our audience additional opportunities to visit the gallery outside of working hours.

DOUGLAS KIRSOP ARTIST CAMP AT DE GREY STATION P HOTOGRAPH BY SAMANTHA BELL, 2015.

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MEDIA, MARKETING, AND C O M M U N I C AT I O N S

FORM’S 2015 Media and Marketing Strategy aimed to raise the profile of culture and creativity across the State, foregrounding innovation for the common good.

6 RT RFM

G R A F F I T I A RT M AG AZINE

SU N C ITY NEWS

7 2 0 A B C P E RTH

G R A F F I T I M UNDO

THE DAILY TELEGRAPH

A B C ON L I NE

G R A F F I T I ST R E E T

THE ESPERENC E EXPRESS

A RR ESTE D M OTI O N

G UA R DI A N E X P R ESS

THE GUARD IAN – D ISCOVER

A RT S H U B

H I L L S G A ZE T T E

C U LTU RE

AUGUSTA-M AR G AR E T R I VE R M A I L

I NM YCO M M UNI T Y

THE MAG MU RALS ONLINE

AVON VAL L E Y ADVO C ATE

LO ST AT E M I NO R

THE SATU RDAY AGE

B IG N EW S NE TW O R K

M A NDUR A H M A I L

THE SU NDAY TIMES

B UN B URY M AI L

M E R R E DI N-W H E AT BELT MERC U RY

THE SYD NEY MORNING HERALD

B US IN ESS NE W S WA

MIX 94.5

THE SYD NEY NEWS

B US S ELTO N-DU NSB O R O UG H M A I L

M O NDO LUCE

THE WAGIN ARGU S

B UZ Z F E E D

M O NO CL E

THE WEEKEND WEST

C H A N N E L 7 O NL I NE

M UR R AY M A I L

THE WEST AU STRALIAN

COLLI E M AI L

NA M O I VA L L E Y I NDEPEND ENT

THE WEST AU STRALIAN – INSID E

D ES I GN B O O M

NO O DL S

COVER

D ON N Y B R O O K-B R I DG E TOW N M A I L

NO RT H W EST T E L EGRAPH

THE WEST ONLINE

D OZE CO L L EC TI V E

RT R F M

WEEKEND NOTES

ELLE D ÉCO R I TAL I A

SAVAG E H A BBI T

WESTERN SU BU RBS WEEKLY

EN GI N E E R S AU STR AL I A

SCO O P M AG A ZI NE

WID EWALLS

EN J OY P E RTH

SO UT H E R N G A ZE T TE

X-PRESS MAGAZINE

FA RM W E E K LY

ST R E E T A RT NE W S

ZAU M

FR EMA N TL E HE R AL D

SUBI ACO P O ST

All of FORM’s projects work towards the development and advocacy of excellence in Western Australian creativity and artistic practice. The media and marketing strategies developed focus on reflecting this excellence in the design of event material, in messages delivered through marketing initiatives, and in media correspondence and public relations. Messaging and communications around FORM’s 2015 programming were amplified through campaigns like the Pitch in For A Kitchen crowdfunding campaign and PUBLIC 2015 and met these objectives with excellent results.

FORM’s marketing objectives are met through a regular output of print, digital and online branding, and event materials. The materials which include project publications, eNewletters, brochures, online campaigns, website development, maps, invitations, photography and videography are distributed to a maintained database of FORM members, subscribers, project audiences, sponsors, collaborators and key business, industry and government contacts.

Social media has been a powerful tool to achieve audience reach and build awareness of FORM”s presence within the community.

Social media channels such as Facebook, Instagram and Twitter were used extensively throughout PUBLIC, attracting significant attention from the online community and resulting in high growth of audience and follower numbers. Across the event dates 10-19 April, PUBLIC achieved an overall global reach of 250,264 on FORM Facebook page – an increase of 45% from PUBLIC 2014.

Online engagement on FORM Facebook was the strength of the medium with a total of 13,425 interactions (likes, shares and comments) during PUBLIC, which indicates a highly engaged and interactive audience. The FORM Instagram audience generated the highest online activity with a total global reach of 22.2K likes and 725 comments - an increase of 137% and 139% respectively from PUBLIC 2014. FORM’s Pitch In For A Kitchen crowdfunding campaign engaged a diverse audience across mainstream and social media, surpassing 1000 shares and raising more than $30,000 from 360 supporters over four weeks. Building sustainable relationships with a number of diverse writers and industry bloggers has also increased audience reach and the recent partnership (the first of its kind in Western Australia) with Google Cultural Institute has broken down geographical boundaries of our projects and exhibitions. FORM exhibitions and projects can now be explored outside of the Gallery walls, accessible to the online world.

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MEMBERSHIP 2015 saw FORM’s membership grow substantially on the strength of our increasingly wide-reaching PUBLIC program, and our new audience engagement strategies. In particular, PUBLIC’s engagement with Perth’s urban neighbourhoods has seen a significant increase in membership from the metropolitan area.

In the Pilbara, the Port Hedland Courthouse Gallery trialled a number of new membership incentives including their Art After Dark event programming and a new members’ preview opportunity, allowing FORM members first option to view and purchase works from curated exhibitions. Not only did this bolster both membership and exhibition sales, it resulted in numerous private commissions for exhibiting artists. In addition to this, first-time West End Maker’s Market’ stallholders were offered complementary 1-year FORM membership, allowing them to reduce the cost of their first year of business, while giving them access to the professional development programming delivered through FORM’s regional engagement stream.

FORM membership currently stands at approximately 502, a 20% increase from 420 at the end of 2014. This comprises 77% individual members, 20% practitioner members and 3% corporate members. Perth members make up 60.5% of the total, regional 35% and the remaining 4.5% interstate and international. FORM remains one of the most competitive and affordable options for makers’ product and public liability insurance in Australia.

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RECRAFTED OPENING KING STREET ARTS CENTRE. PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

Offers and incentives provided for 2015 for Perth members included: - Discounted PUBLIC Symposium tickets - Invitations to 6 metropolitan exhibitions (Recrafted, Power of Place, Shadow, PUBLIC Salon, Radiance, We Call it Home) and 5 regional exhibitions (Converge, A Dot on the Run, We Call it Home, This is the Pilbara, the 2015 Hedland Art Awards, Summer Stock) - Invitation to 1 laneway party (in Perth Chinatown, as part of PUBLIC 2015) - Invitations to 3 Artist and Industry talks in the Perth metropolitan area - Invitations to attend members only events, including , 6 Art After Dark events at the Port Hedland Courthouse Gallery - Discounted publications - Complimentary PUBLIC Urban Art Walk Tours

IAN STRANGE’S SHADOW OPENING PHOTOGRAPH BY BEWLEY SHAYLOR, 2015.

PUBLIC CLOSING PARTY CHINATOWN. PHOTOGRAPH BY JARRAD SENG, 2015.

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P U B L I C AT I O N S

PU BL IC 2015

SPINIFEX HILL ARTISTS

WE CALL IT HOME

FORM has a dedicated commitment to producing high quality publications to accompany our programming. Such documents complement our exhibition and residency programming by providing richer context to FORM’s projects, while extending the lifespan and geographical reach of exhibitions and events.

In recent years, film has become an increasingly important new medium for showcasing FORM’s programming and engaging with our growing social media network. Short films were produced to accompany and document a number of projects throughout 2015 including:

During 2015 expansive catalogues were produced to accompany the exhibitions We Call it Home and Radiance, providing insight into the exhibitions and the stories behind the artworks. Extensive printed collateral developed for PUBLIC 2015 included a series of five precinct maps, allowing audiences to plan self-directed tours of the new walls, spread throughout Perth’s urban villages.

The 2015 Festival catalogue PUBLICation showcased the many artworks produced, in addition to highlights from the PUBLIC Symposium presentations. Later in the year, promotional publications for The Goods Shed and forthcoming PLATFORM prototyping festival continued FORM’s ongoing commitment to high-quality printed matter. Publications produced throughout 2015 included:

- PUBLIC – Art in the Pilbara

- PUBLICation - PUBLIC SYMPOSIUM (promotional document) - PUBLIC maps (Claremont, Northbridge, Fremantle, Subiaco and Victoria Park) - We Call it Home - Radiance - The Goods Shed (promotional document) - Platform (prototyping festival call-out document)

- PUBLIC – Art in the Wheatbelt - We Call it Home In addition to a series of filmed highlights from PUBLIC Symposium.

In addition, a film of programming highlights from the past decade was compiled for key submissions to our core funders, and a showcase of our regional programming produced to accompany our submission for the international BHP Billiton HSEC Awards.

All of FORM’s printed publications are provided free of charge to FORM members, and are available to purchase by non-members.

FORM’s films are available to view on our vimeo and YouTube channels: Vimeo channel: https://vimeo.com/formwa | Youtube channel: http://bit.ly/1lAFMvw

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C R E AT I V E S ENGAGED Lena Abba, visual artist, (WA)

Ngamaru Bidu, visual artist, (WA)

Merinda Churnside, visual artist, (WA)

Jade Dolman, visual artist, (WA)

William Nyaparu Gardiner, visual artist, (WA)

Hosae, street artist, (WA)

Sean Adamas, visual artist, (WA)

Rapie Bilda, visual artist, (WA)

Adam Cicanese, visual artist, (WA)

Dolus, street artist, (WA)

Theaster Gates, speaker, (USA)

Jennifer Hourquebie, visual artist, (WA)

Bjรถrn Rainer Adamson, visual artist, (WA)

Jakayu Biljabu, visual artist, (WA)

Elena Circosta, visual artist, (WA)

Jimmy Donegan, visual artist, (WA)

Del Geist, visual artist, (USA)

Mathew Hughes, visual artist, (WA)

Seriah Adamson, visual artist, (WA)

Matt Biocich, photographer, (WA)

Joanne Clark, visual artist, (WA)

Ian Dowling, visual artist, (WA)

Jeannie George, visual artist, (WA)

Hurben, street artist, (WA)

Aec, street artist, (Ukraine)

Deborah Bonar, visual artist, (WA)

Julianne Clifford, visual artist, (WA)

Rosa Doyle, visual artist, (WA)

Ghost Illustrations, street artist, (WA)

Darren Hutchens, visual artist, (WA)

Bronwyn Aitken, visual artist, (WA)

Ashley Bonser, visual artist, (WA)

Nola Clinch, visual artist, (WA)

Chris Drury, visual artist, (UK)

Bob Gibson, visual artist, (WA)

Eric Hynynen, visual artist, (WA)

Damien Ali, visual artist, (WA)

Chris Booth, visual artist, (NZ)

Elaine Clocherty, visual artist, (WA)

Dan Duggan, visual artist, (WA)

James Giddy, street artist, (WA)

Idol Motions, street artist, (WA)

Kelvin Allen, visual artist, (WA)

Penny Bovell, visual artist, (WA)

Erin Coates, visual artist, (WA)

E.L.K, street artist, (VIC)

Simon Gilby, visual artist, (WA)

Arnold Injie, visual artist, (WA)

Alisha Allen, visual artist, (WA)

Lisa Bowden, visual artist, (WA)

Irene Coffin, visual artist, (WA)

Sonya Edney, visual artist, (WA)

Nyarapayi Giles, visual artist, (WA)

Wasted Interns, visual artist, (WA)

Louise Allen, visual artist, (WA)

Anya Brock, street artist, (WA)

Carol Coletta, speaker, (USA)

Toni Edney, visual artist, (WA)

Tarryn Gill, visual artist, (WA)

Izzie and Queenie, designer, (WA)

Rohanna Allen, visual artist, (WA)

David Brophy, visual artist, (WA)

Paul Collard, speaker, (UK)

Elian, street artist, (Argentina)

Dan Gladden, visual artist, (WA)

Mark Jabajah, visual artist, (WA)

Royden Allen, visual artist, (WA)

Marie Broumandi, visual artist, (WA)

Terina Collins, visual artist, (WA)

Tashi Face, visual artist, (WA)

Phoebe Glasfurd, designer, (Canada)

Eunice Napanangka Jack, visual artist, (NT)

Shiva Amir-Ansar, visual artist, (WA)

Hugh Brown, photographer, (WA)

James Cooper, street artist, (WA)

Linda Fardoe, visual artist, (WA)

Tuppy Ngintja Goodwin, visual artist, (NT)

Polly Jack, visual artist, (WA)

Amok Island, street artist, (WA)

Jan Brown, visual artist, (WA)

Peter Corbett, speaker, (USA)

Tigh Farley, designer, (Canada)

Kylie Graham, visual artist, (WA)

Pennie Jagiello, visual artist, (VIC)

Helen Ansell, visual artist, (WA)

Selena Brown, visual artist, (WA)

Penny Coss, visual artist, (WA)

Miranda Farmer, visual artist, (WA)

Lorenna Grant, visual artist, (WA)

Sadie James, visual artist, (WA)

Scott Armstrong, visual artist, (WA)

Steve Browne, street artist, (WA)

Thea Costantino, visual artist, (WA)

Peter Farmer, visual artist, (WA)

Maggie Green, visual artist, (WA)

Su James, writer, (WA)

Carolina Arsenii, visual artist, (WA)

Kalem Bruce, visual artist, (WA)

Jae Criddle, visual artist, (WA)

Laura Farmer, visual artist, (WA)

Mali Green, visual artist, (WA)

Robert Jenkins, street artist, (WA)

Judith Aspro, visual artist, (WA)

Victor Burton, visual artist, (WA)

Christopher Crouch, visual artist, (WA)

Fecks, street artist, (WA)

Ailsa Grieve, visual artist, (WA)

Heather Jenkins, visual artist, (WA)

Maureen Aspro, visual artist, (WA)

Emma Byrne, photographer, (WA)

Charlie Crowe, visual artist, (WA)

Amanda Fernandez, visual artist, (WA)

Peggy Griffiths, visual artist, (WA)

Hozaus Jimbadee, visual artist, (WA)

Hannah Atcheson, visual artist, (WA)

Teddy Byrne, visual artist, (WA)

Nadia Cullinane, visual artist, (WA)

Eva Fernandez, visual artist, (WA)

Larry Gundora, visual artist, (WA)

Wipana Jimmy, visual artist, (SA)

Thom Aussems, speaker, (Netherlands)

Diane Campbell, visual artist, (WA)

Curiot, street artist, (Mexico)

Fieldey, street artist, (WA)

Chris Hancock, visual artist, (WA)

Yianni Johns, visual artist, (WA)

Ayres, street artist, (WA)

Marcus Canning, visual artist, (WA)

Rebecca Dagnell, visual artist, (WA)

Amanda Firenze-Pentney, visual artist, (WA)

Matthew Harding, visual artist, (NSW)

Robert Johnson, visual artist, (WA)

Miriam Baadjo, visual artist, (WA)

Leonie Cannon, visual artist, (WA)

Peter Dailey, visual artist, (WA)

Annabella Flatt, visual artist, (WA)

Lily Hargraves, visual artist, (NT)

KAB101, street artist, (SA)

Baby Guerilla, street artist, (VIC)

Ryan Cant, visual artist, (WA)

DALeast, street artist, (South Africa/China)

Christian Fletcher, visual artist, (WA)

Marlene Harrold, visual artist, (WA)

Ned Kahn, visual artist, (USA)

Rodney Badal, visual artist, (WA)

Andrea Carew-Reid, visual artist, (WA)

Shu Daniels, photographer, (WA)

Marielle Flood, visual artist, (WA)

HawkWinstonHawk, street artist, (WA)

Natalia Kaighin, visual artist, (WA)

Maringka Baker, visual artist, (SA)

Taewook Cha, visual artist, (USA)

John Darcey, visual artist, (WA)

Fiona Foley, visual artist, (QLD)

Wendy Hayden, visual artist, (WA)

Nathan Karovsky, visual artist, (WA)

Maureen Baker, visual artist, (SA)

Lance Chadd, visual artist, (WA)

Melanie Dare, visual artist, (WA)

Frank Footscray, visual artist, (QLD)

Sohan Ariel Hayes, visual artist, (WA)

Gloria Kelly, visual artist, (WA)

Teresa Baker, visual artist, (SA)

Brett Chan, street artist, (NSW)

Jo Darvall, visual artist, (WA)

Janet Forbes, visual artist, (WA)

Andrew Hem, street artist, (USA)

Liam Kennedy, visual artist, (WA)

Lydia Balbal, visual artist, (WA)

Doreen Chapman, visual artist, (WA)

Jen Datu, visual artist, (WA)

Delma Forbes, visual artist, (WA)

Darren Henderson, visual artist, (NSW)

Fenella Kernebone, speaker, (NSW)

Jenny Baraga, visual artist, (WA)

Nancy Chapman, visual artist, (WA)

Kelli Dawson, visual artist, (WA)

Penny Forlano, designer, (WA)

HENSE, street artist, (USA)

Teresa Kileff, visual artist, (WA)

Troy Barbitta, visual artist, (WA)

Maywokka May Chapman, visual artist, (WA)

Ian de Souza, visual artist, (WA)

Jessica Franklin, visual artist, (WA)

Nigel Hewitt, visual artist, (WA)

Kodi, street artist, (WA)

Willarra Barker, visual artist, (NSW)

Doreen Chapman, visual artist, (WA)

Liam Dee, visual artist, (WA)

Andrew Frazer, visual artist, (WA)

Sharon Hinchliffe, visual artist, (WA)

Kate Koivisto Wheeler, visual artist, (WA)

Sammy Bats, street artist, (WA)

Eileen Charles, visual artist, (WA)

Paul Deej, street artist, (WA)

Marnie French, visual artist, (WA)

Thomas Hoareau, visual artist, (WA)

Helen Komene, visual artist, (WA)

Beastman, street artist, (NSW)

Tiziana Paglia Chilcott, visual artist, (WA)

Fleur Diamond, visual artist, (WA)

Nils Friedrich, visual artist, (WA)

Howard Holder, visual artist, (WA)

Bojana Krstic, visual artist, (WA)

Claire Beausein, visual artist, (WA)

Jesper Christiansen, speaker, (Denmark)

Rupert Dickerson, visual artist, (WA)

Fudge, street artist, (WA)

Loren Holmes, visual artist, (WA)

Jon Kuiper, visual artist, (WA)

Sebastian Befumo, visual artist, (WA)

Andrew Christie, designer, (WA)

Anne Dixon, visual artist, (NT)

Kirstin Gail, visual artist, (WA)

David Hooper, visual artist, (WA)

Nandita Kumar, visual artist, (India)

John Bela, speaker, (USA)

Jill Churnside, visual artist, (WA)

Matt Dixon, visual artist, (WA)

Margaret Nangala Gallagher, visual artist, (NT)

John Paul Horre, photographer, (WA)

Kenson Kwok, speaker, (Singapore)

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Lance Kershaw Ladu, visual artist, (WA)

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Patricia Oldham, visual artist, (WA)

Jarrad Seng, photographer, (WA)

Eileen Tinker, visual artist, (WA)

Matthew McVeigh, visual artist, (WA)

Marissa Oliver, visual artist, (WA)

Valda Sesar, visual artist, (WA)

Monique Tippet, visual artist, (WA)

Rose Megirian, visual artist, (WA)

Alison Page, speaker, (NSW)

Bewley Shaylor, photographer, (WA)

Elizabeth Toby, visual artist, (WA)

Ronan Lane, visual artist, (WA)

Geeta Mehta, speaker, (India)

Tony Pankiw, visual artist, (WA)

Mike Shimes, visual artist, (WA)

Deborah Todd, visual artist, (WA)

Langaliki Langaliki, visual artist, (NT)

Mekel, street artist, (WA)

David Dare Parker, photographer, (WA)

Luke Shirlaw, photographer, (QLD)

Debra Todd, visual artist, (WA)

Giovanni Larusso, cinematographer, (Italy)

Mellopolly, street artist, (WA)

Pastel, street artist, (Argentina)

Shrink, street artist, (WA)

Too Much Colour, street artist, (WA)

Natasha Lea, visual artist, (WA)

Melski, street artist, (WA)

Jean & June Pastore, visual artist, (WA)

Steven Siegel, visual artist, (UK)

Goya Torres, visual artist, (WA)

Mike Legge-Wilkinson, visual artist, (WA)

Jo Meredith, visual artist, (WA)

Sharon Payne, photographer, (WA)

Kathleen Simpson, visual artist, (WA)

Rhiannon Tully, visual artist, (WA)

Patricia Leighton, visual artist, (USA)

Benjamin Merlo, visual artist, (WA)

Chad Peacock, filmmaker, (WA)

Renee Simpson, visual artist, (WA)

Kani Patricia Tunkin, visual artist, (SA)

Brett Lewis, photographer, (WA)

Minyawe Miller, visual artist, (WA)

Thalia Pederson, visual artist, (WA)

Madona Simpson, visual artist, (WA)

Mark Tweedie, visual artist, (WA)

Niningka Munkuri Lewis, visual artist, (NT)

Stormie Mills, street artist, (WA)

Enrique Penalosa, speaker, (Colombia)

Monique Simpson, visual artist, (WA)

TWOONE, street artist, (Berlin/Japan)

Christie Linden, visual artist, (WA)

Georgie Miners, photographer, (WA)

Marianne Penberthy, visual artist, (WA)

Paddy Japaljarri Sims, visual artist, (NT)

Leo van Loon, speaker, (Netherlands)

Pantjiti Lionel, visual artist, (NT)

Ben Mitchell, visual artist, (WA)

Hetti Perkins, speaker, (NSW)

Lynette Nangala Singleton, visual artist, (NT)

Vans the Omega, street artist, (SA)

Marina Lommerse, visual artist, (WA)

Walyampari Mitchell, visual artist, (WA)

Phlegm, street artist, (UK)

Edwin Sitt, photographer, (WA)

Tom Vaughan, visual artist, (WA)

Lucy Loomoo, visual artist, (WA)

Eric Mitchell, visual artist, (WA)

Azaeli Pitt, visual artist, (WA)

Mow Skwoz, visual artist, (WA)

Narlene Waddaman, visual artist, (WA)

Eleanor Lukale, photographer, (WA)

Monday, street artist, (WA)

Obie Platon, visual artist, (WA)

SMIJ, street artist, (WA)

Liddy Napanangka Walker, visual artist, (NT)

Norma MacDonald, visual artist, (WA)

Moneyless, street artist, (Italy)

Sarah Polly, visual artist, (WA)

Dallas Smythe, visual artist, (WA)

Denise Walker, visual artist, (WA)

Alex MacIver, visual artist, (WA)

Murdie Nampijinpa Morris, visual artist, (NT)

Beryl Ponce, visual artist, (WA)

David Spencer, visual artist, (WA)

Yandell Walton, visual artist, (VIC)

Clifton Mack, visual artist, (WA)

Ronald Mosquito, visual artist, (WA)

Julian Poon, visual artist, (WA)

Sean Standen, photographer, (WA)

Waone, street artist, (Ukraine)

Fintan Magee, street artist, (NSW)

Natasha Muhl, visual artist, (WA)

Betty Kuntiwa Pumani, visual artist, (NT)

Nick Statham, designer, (WA)

Geoff Warn, speaker, (WA)

Sharlene Maher, visual artist, (WA)

Tom Muller, visual artist, (WA)

Andy Quilty, visual artist, (WA)

Annabelle Steadman, visual artist, (WA)

Jo Wassell, visual artist, (WA)

Steven Makse, visual artist, (WA)

Bruce Munro, visual artist, (UK)

Lil Rach, visual artist, (WA)

Ryan Stephenson, visual artist, (WA)

Sean Weller, photographer, (WA)

Jan Malkin, visual artist, (WA)

Seonaidh Murphy, visual artist, (WA)

Erma Ranieri, speaker, (SA)

Anyupa Stevens, visual artist, (SA)

Hayley Welsh, street artist, (WA)

Monique Manson, photographer, (WA)

Ian Mutch, street artist, (WA)

Nada Rawlins, visual artist, (WA)

Eileen Yaritja Stevens, visual artist, (SA)

Sarah Napurrurla White, visual artist, (NT)

Ngupulya Pumani Margaret, visual artist, (NT)

Alice Nampitjinpa, visual artist, (NT)

Jahne Rees, visual artist, (WA)

Heather Stokes, visual artist, (WA)

Ginger Wikilyiri, visual artist, (SA)

Keely Markovina, visual artist, (WA)

Brett Nannup, visual artist, (WA)

Fiona Reidy, visual artist, (WA)

Hellena Stokes, visual artist, (WA)

Iyawi Wikilyiri, visual artist, (SA)

Roberta Marney, visual artist, (WA)

Laurel Nannup, visual artist, (WA)

Alison Munti Riley, visual artist, (NT)

Tammy Stowe, visual artist, (WA)

Mumu Mike Wiliams, visual artist, (NT)

Mulyatinki Marney, visual artist, (WA)

Noel Nannup, visual artist, (WA)

Julie Nangala Robertson, visual artist, (NT)

Straker, street artist, (WA)

Lena Willalang, visual artist, (WA)

Cherish Marrington, visual artist, (WA)

Ryan Nazzari, visual artist, (WA)

Shorty Jangala Robertson, visual artist, (NT)

Ian Strange, street artist, (WA/USA)

Daek William, street artist, (WA)

Gabrielle Marriott-Wilkinson, visual artist,(WA)

Natasha Nelson, visual artist, (WA)

Tom Rogers, street artist, (WA)

Greg Straw, visual artist, (WA)

Martin E. Wills, visual artist, (WA)

Liz Marruffo, visual artist, (WA)

NeSpoon, street artist, (Poland)

Betty Rupe, visual artist, (WA)

Sugarsweet, street artist, (WA)

Sally Wilson, visual artist, (WA)

James Martyn, street artist, (WA)

Matthew Ngui, visual artist, (Singapore)

Daniel Salamanca, visual artist, (WA)

Jessica Tan, visual artist, (WA)

Molly Woodman, visual artist, (WA)

Jarrad Martyn, visual artist, (WA)

Andrew Nicholls, visual artist, (WA)

Winnie Sampi, visual artist, (WA)

James Tapscott, visual artist, (VIC)

Gloria Woodman, visual artist, (WA)

Wesley Maselli, visual artist, (WA)

Neil Nicholson, visual artist, (WA)

Allery Sandy, visual artist, (WA)

Mollie Napurrurla Tasman, visual artist, (NT)

Peter Woodman, visual artist, (WA)

Tommy May, visual artist, (WA)

Chris Nixon, street artist, (WA)

Melissa Sandy, visual artist, (WA)

Rosie Napurrurla Tasman, visual artist, (NT)

Marjorie Yates, visual artist, (WA)

Lisa Mayne, photographer, (WA)

Charlie Njana, visual artist, (WA)

Aileen Sandy, visual artist, (WA)

Curtis Taylor, filmmaker, (WA)

Alister Yiap, visual artist, (WA)

Janelle McCaffrey, visual artist, (WA)

Melanie Noble, visual artist, (WA)

Timo Santala, speaker, (Finland)

Clint Taylor, visual artist, (WA)

Yok & Sheryo, street artist, (Perth/Singapore)

Sarah McCloskey, street artist, (WA)

Melissa North, visual artist, (WA)

Nike Savvas, visual artist, (NSW)

Muuki Taylor, visual artist, (WA)

Peter Young, visual artist, (WA)

Rob McCulloch, visual artist, (WA)

Taylah Nowers, visual artist, (WA)

Sazar, street artist, (WA)

Sioux Tempest, visual artist, (WA)

Margaret Yuline, visual artist, (WA)

Susan McCulloch OAM, writer, (VIC)

Eko Nugroho, visual artist, (Indonesia)

Kim Scott, writer, (WA)

Lisa Ternes, visual artist, (WA)

Nick Zafir, street artist, (WA)

Fergus McFudge, street artist, (WA)

Tess O’Reilly, photographer, (WA)

Carly Scoufos, visual artist, (QLD)

Biddy Thomas, visual artist, (WA)

Barry McGuire, visual artist, (WA)

Kyle Hughes Odgers, street artist, (WA)

Brenton See, street artist, (WA)

Paul Thomas, visual artist, (WA)

Mia Laing, visual artist, (WA) Charles Landry, speaker, (UK)

Josh McManus, speaker, (USA)

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FORM: BOARD M E M B E R S ’ R E P O RT FOR THE YEAR ENDING 31 DECEMBER 2015

B OA R D MEMBER

EX PERTISE

O F F I CE

Paul Chamberlain Philanthropist, investor

Philanthropy, investment

Chairperson (appointed to the Board 2013, appointed as Chair April 2014)

Principal Activities

Proceedings on Behalf of the Association

The principal activities of the entity during the financial year were:

- Regional Artistic Capacity

No person has applied for leave of Court to bring proceedings to which the association is a party for the purpose of taking responsibility on behalf of the association for all or any part of those proceedings. The association was not a party to any such proceedings during the year.

- Aboriginal Design & Artistic Development

Indemnifying Board Members

Operating Results COPY STILL The surplus for the year amounted to TBC TO COME

FORM’s Association Liability insurance included coverage of the Board Members during the 2015 financial year. No indemnities have been given during or since the end of the financial year for any person who is or has been a Board member or auditor of the association.

- Perth Creative Engagement Lynda Dorrington Executive Director FORM

Business, visioning, and marketing

Jarod Stone Financial Controller Wabtec Control System

Corporate financial advice

Rebecca Eggleston General Manager FORM

Cultural strategy and planning

Ex-Officio (appointed 2010)

Treasurer (appointed 2009)

Environmental Issues Secretary (appointed Sept 2014)

The association’s operations are not regulated by any particular or significant environmental regulation under the Commonwealth, State or Territory.

Significant Changes to State of Affairs Tania Hudson Director Words Communications Consultancy

Communications, collaborations

Board Member (appointed 2011, resigned from Chair April 2014)

Adam Zorzi Director Australian Development Capital

Property investment

Board Member (appointed 2009)

Derry Simpson Managing Director 303

Communications Strategy

Peter Lee Director HASSELL

Architecture, design, place activation

Stedman Ellis COO Australian Petroleum Production and Exploration Association (APPEA), Western Region

Management, strategy

In the opinion of the Board members there were no significant changes in the state of affairs of the entity that occurred during the financial year under review not otherwise disclosed in this report or the financial statements.

Adoption of Australia Equivalents to IFRS Board Member (appointed 2009)

The association’s financial report has been prepared in accordance with Australian Equivalents to International Financial Reporting Standards (IFRS).

Board Member Benefits Board Member (appointed 2011)

Board Member (appointed 2013)

No Board member has received or become entitled to receive, during or since incorporation, a benefit because of a contact made by the association or a related body corporate with the Board member, a form of which the Board member is a member or a company in which the Board member has a substantial financial interest.

Significant Events after the Balance Date No matters or circumstance have arisen since balance date which significantly affected or may affect the operations of the association, the results of those operations, or the state of affairs of the association in the financial years subsequent to the year ended 31 December 2015.

Likely Developments and Expected Results The continuing success of FORM in building creative capacity within regional and urban Western Australia is dependent upon grant income from the Department for Culture and the Arts, the Australian Council for the Arts as this core funding provides a stable foundation to employ staff on an ongoing basis. The Board members do not foresee any major changes in the direction of the association which will significantly impact on the entity not otherwise dealt with in this report.

Annual Financial Statements The 2015 Annual Financial Statements are contained in a separate document and are available upon request.

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THANK YOU FORM wishes to thank each and every person, organisation, agency, and company mentioned in this Annual Report, all of whom have made varied and valuable contributions to FORM’s projects in 2015.

A special note of thanks must be made to our Principal Partner BHP Billiton who has supported FORM’s work in the regions for a decade. Without their investment FORM could not have engaged with the communities of the Pilbara.

In addition to the talented, creative individuals that we have worked with, FORM reserves a special thank you for all our partners and sponsors. FORM’s corporate partnerships in particular provide us with new opportunities and better solutions, while also encouraging the broader business sector to think differently about the way they contribute to the communities with which they do business.

P R I N C I PA L PA RTNER

M AJ O R PART N ER

R EG I O N AL PA RTNER

FORM is supported by the Visual Arts and Craft Strategy, an initiative of the Australian State & Territory Governments.

FORM is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Supporting Partners ABN Group AECOM Alinta Energy BGC Brikmakers Brookfield CBH Group City of Fremantle City of Vincent Department of Housing Environmental Industries Foundation Housing Fremantle Foundation Hassell Herbert Smith Freehills Ibis Hotels IBN Corporation

Gallery and Presenting Partners Impact 100 – Fremantle Italian Consul LandCorp MRA Perth Airport Perth Theatre Trust Pilbara Ports Authority RAC Sirona Capital The Lilly Street Lasagne Group Town of Claremont Town of Port Hedland Town of Victoria Park Urbis Western Australian Museum Woods Bagot

Altiform Amelia Park Wines Australian Development Capital Benara Nurseries Charter Hall CODA Cooper & Oxley Cox Howlett & Bailey Woodland Crommelins DS Group & Street Furniture Australia Eclipse Resources ESS GCS Google Cultural Institute Griffiths Architects GWN7

Humaan Ian Lush and Associates John Hughes Justin Rogan Little Creatures Brewing Megavision Sound/Lighting Mondoluce North West Telegraph Scott Print Spirit Radio Strategic Fire Tox Free Western Australian Herbarium

S EC T I O N H EA DING

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