Annual Report 2017

20 A N N U A L R E P O R T

2017

Cover image: Untitled (atmospheres) (detail), Consuelo Cavaniglia.

Photograph by Bewley Shaylor, 2017.

39 Gugeri Street Claremont, Western Australia, 6010 E: mail@form.net.au T: +61 8 9226 2799

Designed and published by FORM.

Our websites: www.form.net.au www.thegoodsshed.form.net.au www.spinifexhillstudio.com.au www.courthousegallery.com.au www.visitporthedland.com www.publicsilotrail.com www.scribblersfestival.com.au

Š2017 - 2018. 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. 02

2017 ANNUAL REPORT

www.fieldoflightalbany.com.au

2017 ANNUAL REPORT

03

A N N U A L R E P O R T

C O N T E N T S _

Executive Overview FORM Network and Creatives FORM Overview

18-37

The Goods Shed

38-41

Creative Learning

42-51

Cultural Tourism

PUBLIC Overview PUBLIC Silo Trail Merredin PUBLIC in Katanning The Trail

52-67

Public Art

2017 Projects Public Art Overview Optus Stadium Fringe on William Bottleyard Allendale Square City of Melville Public Art Strategy and Masterplan Karratha Health Campus Town of Claremont Council Albany Town Centre Melville Plaza

68-83

FORM Gallery

823 by Ta-ku Flight: Aboriginal Perspectives from the Sky Wild Silence What’s your name. It’s a symbol. Don’t talk.

Visitants

84-103

Port Hedland Courthouse Gallery

The Goods Shed Overview LeveL and volumes Painting Power BUILDED REMNANTS Earth Matters Speaker Program Community programming Scribblers

Port Hedland Courthouse Gallery Overview Obscura Worn Land Trace Elements Feed Flight: Aboriginal Perspectives from the Sky A Year in the Making Hedland Art Awards

104-113

Business and Artistic Development

Creative Business Development Series Artistic Development Program Creative Learning Program Community Programming West End Markets and the activation of the West End

114-127

Spinifex Hill Studios

Spinifex Hill Studios Overview Pujiman Nyaparu (William) Gardiner Gloria Community engagement

128-133

Residencies

Gian Manik Pilar Mata Dupont Manguri Wiltja

134-139

Touring exhibitions

140-141

Port Hedland Visitor Centre

142-153

Organisation

154-155

Thank you

Bedazzle in Kalgoorlie The Core in Katanning

Membership Media and Communications Evaluation Board Members’ Report

2017 ANNUAL REPORT

Introduction

05

6-17

E X E C U T I V E _ OVERVIEW

During 2017, FORM has been invested in how we educate our young people in order to make them more adaptable, and capable of achieving their potential. And if I were to think of three words to sum up our year, they would be intensity, learning, and imagination.

Intensity is perhaps no surprise: the volume and scope of FORM’s programs and activities across regions like the Pilbara, the Wheatbelt, and the Great Southern, not to mention the breadth of our engagement in Perth metropolitan area during 2017 ensure that once again, the FORM team has had a very busy year.

The community events that most people― ―get to be a part of― include the exhibitions and workshops, public art unveilings, markets, masterclasses, and residencies, at the likes of Port Hedland, Albany, The Goods Shed, and FORM Gallery in Perth― are the proverbial tip of the iceberg.

Months of painstaking research, planning, partnershipbuilding, negotiation, and fundraising go into each aspect of FORM’s programming; and then occasionally, serendipitous opportunities to expand our networks and connect with local and global expertise can eventuate.

The desire (and capacity) to seize fortuitous opportunities as well as commit to long-term planning and relationshipbuilding means that, whether we’re curators or project managers, programmers or designers, and writers, each individual at FORM is constantly evolving, adapting and, most importantly, learning. All of that knowledge and development and all of those benefits are directed back into the organisation, so that we can continue to explore and share the power of creativity to enrich all our lives, and help make a more creative and resilient Western

06

2017 ANNUAL REPORT

Australia.

Earth Matters (installation detail), The Goods Shed. Photograph by Bewley Shaylor, 2017.

This is why learning has also been such an

Finally, we come to imagination. Apart from what

important word― on several levels― at FORM

we hope creative learning will spark in our children;

during 2017: personal learning, professional

what goes into all of FORM’s programming (along

learning, and particularly, creative learning.

with a healthy dose of pragmatism); and the reason for the brilliance of all the artists, experts

FORM’s Creative Learning program, initiated in

and creatives with whom we work, why else is

2015, has continued to work closely with Paul

imagination my third word?

Collard of the global foundation Creativity and Culture in Education on developing a pilot

It is in recognition of partners like BHP: a partner with

program to deploy evidence-based ways of

the imagination to understand that communities

bringing creativity ―and creatives ―to Western

change, whether it is in Perth, the Pilbara, or the

Australian schools and learning. Cultivating

South West, it doesn’t happen overnight; and with

a child’s executive skills means that child’s

the imagination to look to the long-term, and give

resilience, imagination, persistence, and

sustained and steadfast support for over a decade

learning capabilities will also expand; as well

to key FORM programs like our international

as their ability to engage with the personal

residencies. It is also in recognition of our increasing

and professional challenges of the future.

donor base, which shares our aspirations for a

What type of employment will the Western

competitive cultural economy based on Western

Australian graduates of the future undertake?

Australia’s unique talent and culture.

In developing this Creative Learning pilot, FORM is attempting to show educators,

And imagination is, more than ever, necessary in a

parents, administrators, and policy-makers

cost-conscious and risk-averse era when a cultural

how we might equip coming generations with

organisation’s capacity to adapt, partner, inspire, and

the tools to negotiate these uncertainties.

leverage support is ever more critical. When funding is tight, and a slowdown in the resource sector

Studies show that bringing an artist into

means economic recovery is slow, arts funding is

schools to engage with students as an

oftern reduced.

artist not a teacher, can result in strong learning outcomes for the child, the class,

Yet arts, creativity, and culture are intrinsic to the

and the school as a whole. The first public

humanities: how and what it means and feels to

demonstration of our commitment to this

be human. And intrinsic to the humanities is‘not

stream of activity is happening in 2018

cognitive knowledge alone but aesthetic sensibility

through our Scribblers Festival of Literature

and moral feeling, emotional empathy and

and Arts for Young People, and also through

imaginative vision, along with many other types of

the first schools partnering with FORM on the

intelligence and awareness’1 . The world continues

Creative Learning pilot program.

to challenge us to be responsive, responsible, and resilient. And so it is the humanities that we need for

- Lynda Dorrington

. Franke, William. 2015. ‘Involved Knowing: On the Poetic Epistemology of the Humanities.’ Humanities, 4, 600-622

1

08

2017 ANNUAL REPORT

our society, our children, and ourselves.

“All of us want to connect with the sense of being part of something larger than our single lives.”

09

Unexpected Events (break up in a benign landscape), (detail), Penny Coss. Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

Bruce Munro, 2016.

10

2017 ANNUAL REPORT

C R E A T I V E S E N G A G E D _

2017 ANNUAL REPORT

11

12

2017 ANNUAL REPORT

W A C R E A T I V E S E N A G E G D _ Tressina Abbott, visual artist, WA

Gavin Canning, visual artist, WA

Andrew Frazer, visual artist, WA

Kelvin Allen, visual artist, WA

Tjyllyungoo Lance Chadd, visual artist, WA

Nils Friedrich, visual artist, WA

Alisha Allen, visual artist, WA

Doreen Chapman, visual artist, WA

Future Shelter, designer, WA

Clara Allen, visual artist, WA

Nancy Chapman, visual artist, WA

Emilia Galatis, curator, WA

Louise Allen, visual artist, WA

May Chapman, visual artist, WA

Gideon Gardiner, visual artist, WA

Royden Allen, visual artist, WA

Morag Chapman, visual artist, WA

Crystal Gardiner, visual artist, WA

Sandy Allery, visual artist, WA

Imelda Charles, visual artist, WA

Delroy Gardiner, visual artist, WA

Amok Island, visual artist, WA

Zabia Chmielewski, visual artist, WA

Nyaparu (William) Gardiner, visual artist, WA

Kezia Anastasia, typographer, WA

Andrew Christie, designer, WA

Sheila Gardiner, visual artist, WA

Helen Ansell, visual artist, WA

Jill Churnside, visual artist, WA

Fiona Gavino, visual artist, WA

Agnes Armstrong, visual artist, WA

Mette Clifton, visual artist, WA

Ian Gear, visual artist, WA

Sebastian Arrow, visual artist, WA

Nola Clinch, visual artist, WA

Jeannie George, visual artist, WA

Billy (Yunkurra) Atkins, visual artist, WA

Sage Clinch, visual artist, WA

Donelle Gibbs, visual artist, WA

Sophie Atkinson, visual artist, WA

Janelle Cockayne, photographer, WA

Mary Gibson, visual artist, WA

Miriam Baadjo, visual artist, WA

Irene Coffin, visual artist, WA

Nyarapayi Giles, visual artist, WA

Rodney Badal, visual artist, WA

Cilla Connors, visual artist, WA

Tarryn Gill, visual artist, WA

Lydia Balbal, visual artist, WA

Rebecca Corps, visual artist, WA

Marissa Ginger, visual artist, WA

Willarra Barker, visual artist, WA

Penny Coss, visual artist, WA

Gloria, visual artist, WA

Ned Beckley, visual artist, WA

Rebecca Dagnall, visual artist, WA

Dianne Ungukalpi Golding, visual artist, WA

Samantha Bell, photographer, WA

Sangita Trivedi Daniels, visual artist, WA

Kylie Graham, visual artist, WA

Steve Berrick, visual artist, WA

Mel Dare, visual artist, WA

Lorenna Grant, visual artist, WA

Narelle Bettini, visual artist, WA

Kelli Dawson, visual artist, WA

Maggie Green, visual artist, WA

Ngamaru Bidu, visual artist, WA

Tamika de Freitas, visual artist, WA

Alan Griffiths, visual artist, WA

Caroline Bidu, visual artist, WA

Kaya Dhu, visual artist, WA

Louise Griffiths, designer, WA

Jakayu Biljabu, visual artist, WA

Layne Dhu-Dickie, visual artist, WA

Alice Guinness, visual artist, WA

Owen Biljabu, visual artist, WA

Fleur Diamond, visual artist, WA

Larry Gundora, visual artist, WA

Daisy Bitting, visual artist, WA

Jade Dolman, visual artist, WA

Paddy Carlton Gwambany, visual artist, WA

Blank Canvas Gifts, designer, WA

Ian Dowling, visual artist, WA

Happy As Larry Designs, designer, WA

Shellie Blatch, visual artist, WA

Sonya Edney, visual artist, WA

Leanne Harrison, visual artist, WA

Helena Bogucki, jeweller, WA

Amber Edwards, visual artist, WA

Dennis Haskell, poet, WA

Leanne Bray, visual artist, WA

Seren Edwards, visual artist, WA

Adam Hawke, visual artist, WA

Breckon, visual artist, WA

Sharyn Egan, visual artist, WA

Debra Hayes, florist, WA

Danielle Briggs, photographer, WA

Sarah Elson, jeweller, WA

Taryn Hays, photographer, WA

Anya Brock, visual artist, WA

Eucalypt Homewares, designer, WA

Sohan Ariel Hayes, visual artist, WA

David Brophy, visual artist, WA

Katie Evans, designer, WA

Natalie Henry, visual artist, WA

Selena Brown, visual artist, WA

Caspar Fairhall, visual artist, WA

Reid Hilton, visual artist, WA

Betty Bundamurra, visual artist, WA

Miranda Farmer, visual artist, WA

Ella Hinch, visual artist, WA

Pauline Bunwarrie, visual artist, WA

Peter Farmer, visual artist, WA

Timo Hogan, visual artist, WA

Cynthia (CB) Burke, visual artist, WA

Meleah Farrell, photographer, WA

Howard Holder, visual artist, WA

Victor Burton, visual artist, WA

Fecks, visual artist, WA

Julie Holmes-Reid, jeweller, WA

Ashtonia Burton, visual artist, WA

Annabella Flatt, visual artist, WA

David Hooper, visual artist, WA

Katjarra Butler, visual artist, WA

Tracie Fleay, visual artist, WA

Janeen Horne, visual artist, WA

Teddy Byrne, visual artist, WA

Christian Fletcher, visual artist, WA

Jean-Paul Horre, photographer, WA

Cheyne Cameron, visual artist, WA

Michael Fletcher, filmmaker, WA

Jennifer Hourquebie, visual artist, WA

Elle Campbell, visual artist, WA

Penny Forlano, visual artist, WA

Kyle Hughes-Odgers, visual artist, WA

Nola Campbell, visual artist, WA

Alex Fossilo, designer, WA

Hungry Sky, interactive media, WA

Diane Campbell, visual artist, WA

Melissa Foster, visual artist, WA

Darren Hutchens, visual artist, WA

Shirley Riley, visual artist, WA

Marziya Mohammedali, poet, WA

Jayne Rolinson, visual artist, WA

Polly Jack, visual artist, WA

Amie Montefiore, visual artist, WA

Janet Ross, visual artist, WA

Nancy Nyarnyarna Jackson, visual artist, WA

Tanya Montgomery, visual artist, WA

Lynette Rowlands, visual artist, WA

Sadie James, visual artist, WA

Claire Moody, jeweller, WA

Yanjimi Peter Rowlands, visual artist, WA

Tjukupati James, visual artist, WA

Georgia Morgan, visual artist, WA

Peter Ryan, visual artist, WA

Arnold James, visual artist, WA

Ronald Mosquito, visual artist, WA

Leanne Ryan, jeweller, WA

Daisy Japulja, visual artist, WA

Kate Mott, visual artist, WA

Jeremy Sammy, visual artist, WA

Ashvin Jeeloll, visual artist, WA

Gracie Mulligan, visual artist, WA

Winnie Sampi, visual artist, WA

Robert Jenkins, visual artist, WA

Ian Mutch, visual artist, WA

Helen Samson, visual artist, WA

Maudie Jerrold, visual artist, WA

Katie Nalgood, visual artist, WA

Kathy Samson, visual artist, WA

Pillita Jones, visual artist, WA

Jacqueline Nalgood, visual artist, WA

Violet Samson, visual artist, WA

Olive Joseph, visual artist, WA

Nyangulya Katie Nalgood, visual artist, WA

Judith (Anya) Samson, visual artist, WA

Thelma Judson, visual artist, WA

Cheryl Nanala, visual artist, WA

Amanda Saunders, visual artist, WA

Zoe Kickett, visual artist, WA

Heather Nanala, visual artist, WA

Ross Scotland, designer, WA

Robert Kickett, visual artist, WA

Rosemary Nanala, visual artist, WA

Kim Scott, writer, WA

Willy Kickett, visual artist, WA

Maggie Nangagee, visual artist, WA

Brenton See, visual artist, WA

Eleanor Killen, visual artist, WA

Renata Nangagee, visual artist, WA

Valda Sesar, visual artist, WA

Alice King, visual artist, WA

Wendy Nanji, visual artist, WA

Bewley Shaylor, photographer, WA

Douglas Kirsop, visual artist, WA

Laurel Nannup, visual artist, WA

Michelle Siciliano, visual artist, WA

Helen Komene, visual artist, WA

Illiam Nargoodah, visual artist, WA

John Prince Siddon, visual artist, WA

Claudia Kraus, visual artist, WA

Anne Neil, visual artist, WA

Phillip Simpson, visual artist, WA

Jon Kuiper, visual artist, WA

Adina Newman, visual artist, WA

Dallas Smythe, visual artist, WA

Sonia Kurarra, visual artist, WA

Phyllis Ningarmara, visual artist, WA

Ric Spencer, curator, WA

Pam Langdon, visual artist, WA

Chris Nixon, visual artist, WA

Jacquie Sprogoe, jeweller, WA

Claire Leach, filmmaker, WA

Yuwali Janice Nixon, visual artist, WA

Annika Stenvall, visual artist, WA

Ruth Leigh, visual artist, WA

Charlie Njana, visual artist, WA

Mervyn Street, visual artist, WA

Vincent Lewis, visual artist, WA

Philip Noakes, jeweller, WA

Roderick Sturt, visual artist, WA

Travis Lilley, photographer, WA

Ellen Norrish, visual artist, WA

Ta-ku, musician, WA

Tania Lindau, visual artist, WA

Melissa North, visual artist, WA

Emma Tan, visual artist, WA

Benjamin Loaring, visual artist, WA

Nora Nungabar, visual artist, WA

Keriana Tarawe-Eaglesome, visual artist, WA

Owen Loaring, visual artist, WA

Kael Nunn, visual artist, WA

Jonathan Tarry, visual artist, WA

Jody Loaring, visual artist, WA

Julie Ann Ogilvie, jeweller, WA

Muuki Taylor, visual artist, WA

Isaac Loaring, visual artist, WA

Old Grey House, designer, WA

Marlene Taylor, visual artist, WA

Tom Lucey, visual artist, WA

Marissa Oliver, visual artist, WA

Sioux Tempestt, visual artist, WA

Elly Lukale, photographer, WA

Jack Pam, curator, WA

The Little Press, designer, WA

Norma MacDonald, visual artist, WA

Johannes Pannekoek, visual artist, WA

Michele Theunissen, visual artist, WA

Tim Macfarlane, visual artist, WA

Dorothy Papertalk, visual artist, WA

Reshaum Thirkall, visual artist, WA

Clifton Mack, visual artist, WA

Justin Papertalk, visual artist, WA

Phyllis Thomas, visual artist, WA

Kittey Malarvie, visual artist, WA

Jill Parnell, jeweller, WA

Sarah Thornton Smith, visual artist, WA

Louise Malarvie, visual artist, WA

Chad Peacock, filmmaker, WA

Helicopter (Joey) Tjungurrayi, visual artist, WA

Lindsay Malay, visual artist, WA

Clare Peake, visual artist, WA

Elizabeth Toby, visual artist, WA

Jan Malkin, visual artist, WA

Sarah Polly, visual artist, WA

Claire Townsend, jeweller, WA

Mulyatingki Marney, visual artist, WA

Beryl Ponce, visual artist, WA

Kyah Turner, visual artist, WA

Jarrad Martyn, visual artist, WA

Patju Presley, visual artist, WA

Tineke van der Eecken, poet, WA

Wes Maselli, visual artist, WA

Sam Price, visual artist, WA

Christel van der Laan, jeweller, WA

Ngarralja Tommy May, visual artist, WA

Ngupulya Pumani, visual artist, WA

GwenaĂŤl Velge, visual artist, WA

Carrie McDowell, visual artist, WA

Kathy Ramsay, visual artist, WA

William Walker, visual artist, WA

Barry McGuire, visual artist, WA

Lorraine Rawlins, visual artist, WA

Ben Ward, visual artist, WA

Alana McKenzie, visual artist, WA

Cliff Reid, visual artist, WA

Wendy Warrie, visual artist, WA

Mel McVee, visual artist, WA

Thomas Reid, visual artist, WA

Mags Webster, poet, WA

Matt McVeigh, visual artist, WA

Fiona Reidy, visual artist, WA

Robin Wells, jeweller, WA

Minyawe Miller, visual artist, WA

Brenda Ridgewell, jeweller, WA

Hayley Welsh, visual artist, WA

2017 ANNUAL REPORT

Eric Mitchell, visual artist, WA

Mark Jabajah, visual artist, WA

13

Rafeif Ismail, poet, WA

Kimberley Wholohan, visual artist, WA

Kate Wilson, poet, WA

Molly Woodman, visual artist, WA

Bugai Whyoulter, visual artist, WA

Tony Windberg, visual artist, WA

Julie Woods, visual artist, WA

Cyril Whyoulter, visual artist, WA

Mabel Juli Wiringgoon, visual artist, WA

Angela Wulgarie, visual artist, WA

Lena Willalang, visual artist, WA

Nora Wompi, visual artist, WA

Marjorie Yates, visual artist, WA

Corban Clause Williams, visual artist, WA

Matthew Wong, designer, WA

Alister Yiap, visual artist, WA

Jude Willis, visual artist, WA

Gloria Woodman, visual artist, WA

June Zeidler, visual artist, WA

14

2017 ANNUAL REPORT

O T H E R C R E A T I V E S E N G A G E D _ Lisa Armstrong, visual artist, NT

Naomi Kantjuriny, visual artist, SA

Mandy Ridley, visual artist, QLD

Stephen Baker, street artist, VIC

Annegret Kellner, visual artist, Netherlands

ROA, street artist, Belgium

Beastman, street artist, NSW

Serena Ken, visual artist, SA

Gunybi Ganambarr Robert, visual artist, NT

Sharon Bill, visual artist, NT

Joel Pascoe Kurdarrday, visual artist, NT

Jason Roberts, place activation, US

Noreen Bronson, visual artist, NT

Janie Kulyuru Lewis, visual artist, SA

Gladys Roberts, visual artist, NT

Agnes Nampijinpa Brown, visual artist, NT

Jeanie Napangardi Lewis, visual artist, NT

Stefanie Robinson, performing arts, VIC

Raymond Bulambula, visual artist, NT

Lydia Lockett, poet, Canada

Rita Rolley, visual artist, NT

Terena Bulla, visual artist, NT

Nicole Ma, filmmaker, VIC

Viv Rosman, performing arts, VIC

Bob Burruwal, visual artist, NT

Magpie Goose, designer, NT

Yolanda Rostron, visual artist, NT

Consuelo Cavaniglia, visual artist, NSW

Gian Manik, visual artist, VIC

Mona Mitakiki Shepherd, visual artist, SA

David Charles Collins, visual artist, NSW

Sandra Manydjurrpuy, visual artist, NT

Berndnaut Smilde, visual artist, Netherlands

Thea Costantino, visual artist, UK

Susan Marawarr, visual artist, NT

Pollyanne Smith, visual artist, NT

Saeed Danesh, musician, Iran

Jennifer Marchant, visual artist, QLD

Colleen Smith, visual artist, NT

Joe Dhamanydji, visual artist, NT

Ishmael Marika, visual artist, NT

Rachael Yaritji Stevens, visual artist, NT

Marcos Martinez Diaz, street artist, Spain

Justin Wesley Marshall, performing arts, VIC

Studio Twocan, designer, VIC

Kathy Dodd, visual artist, NT

Willy Muntjantji Martin, visual artist, NT

Rainbow Sweeny, performing arts, VIC

Delores Tipumantumirri Dollar, visual artist, NT

Rowena Martinich, visual artist, VIC

Zainab Syed, poet, Pakistan

Chris Drury, visual artist, UK

Malaluba Gumana Mavis, visual artist, NT

James Tapscott, visual artist, VIC

Pilar Mata Dupont, visual artist, Netherlands

Naminapu Maymuru-White, visual artist, NT

Djambawa Marawili Terry, visual artist, NT

Erth, performing arts, NSW

Natalia Milosz-Piekarska, jeweller, VIC

Cornelia Tipuamantumirri, visual artist, NT

Evoca1, street artist, US

Peter Minygululu, visual artist, NT

Andre Tipungwuti, visual artist, NT

Susan Fealy, poet, VIC

mischer’traxler studio, designers, Austria

Jacqueline Tipungwuti, visual artist, NT

Luis Francia, poet, US

Wulu Marawili Mikariny Muluminya, visual artist, NT

Togetherness Designs, designer, VIC

Yuko Fujita, jeweller, VIC

Buwathay Munyarryun Munandjiwuy, visual artist, NT

Sonia Vine, photographer, QLD

Anansa Garrawurra, visual artist, NT

Okuda, street artist, Spain

Wukun Wanambi, visual artist, NT

Bob Gibson, visual artist, NT

Kitiya Palaskas, designer, VIC

Penny Milingu Wanapuyngu, visual artist, NT

Sue Giles, performing arts, VIC

Josette Papajua, visual artist, NT

Susan Wanji, visual artist, NT

Philip Gudthaykudthay, visual artist, NT

Eunice Yunurupa Porter, visual artist, NT

Justine Warner, performing arts, VIC

Rosina Gunjarrwanga, visual artist, NT

Cymantha Puruntatameri, visual artist, SA

Katrina Weber, designer, SA

Nicky Hepburn, jeweller, VIC

Francesca Puruntatameri, visual artist, NT

Mulkun Wirrpanda, visual artist, NT

Ivy Hopkins, visual artist, NT

Nina (Ludwina) Puruntatameri, visual artist, NT

Farley Wright, designer, SA

Karim Jabbari, street artist, Tunisia

Winnifred Puruntatameri, visual artist, NT

Puna Yanima, visual artist, NT

Eunice Napanangka Jack, visual artist, NT

Margaret Rarru, visual artist, NT

Lena Yarinkura, visual artist, NT

Andy Jackson, poet, VIC

RekaOne, street artist, Germany

Djirrirra Wununmurra Yukuwa, visual artist, NT

Pennie Jagiello, jeweller, VIC

Tamara Rewse, performing arts, VIC

Barrupu Yunupinu, visual artist, NT

Tim Jones, place activation, UK

Charlton Richards, visual artist, NT

2017 ANNUAL REPORT

15

F O R M _ OVERVIEW

FORM is a non-profit, cultural organisation with charitable status that advocates for excellence in creativity and artistic practice in Western Australia.

We work to build a cultural and creative ecology that values artistic excellence, improves arts access for all, and encourages the development of inclusive and vibrant communities. Our activities span high-level artist development, exhibitions, and festivals; place-curation and strategy; cultural infrastructure development and public art; Aboriginal cultural maintenance; promoting the regions through cultural tourism development; creative learning; and research and advocacy. All of these activities are connected by the exploration of artistic excellence, whether through process or outcomes. At the core of our programming is the facilitation of innovative partnerships between artists, communities, and stakeholders, to enable outcomes that are mutually relevant, authentic, and enduring.

This includes extensive collaboration with communities from regional and remote Western Australia in addition to urban based, interstate,

16

2017 ANNUAL REPORT

and international creatives.

“Break rules, be passionate, think about your community’s legacy”

17

Jason Roberts speaking at FORM’s Speaker Series. Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

Jason Roberts, Tactical Urbanist.

T H E G O O D S S H E D

T H E G O O D S S H E D _ The Goods Shed in Claremont is a creative project space managed and curated by FORM. A repurposed heritage railway building, complete with coffee pod and surrounding gardens, The Goods Shed is open seven days a week, hosting a program of creative exchanges with exciting contemporary creatives and thinkers; exhibitions by local, national, and international SHED

artists; and arts workshops and community events. A vital aspect of FORM’s commitment

G OO DS

to inclusion, diversity, and fostering a nontraditional arts audience, The Goods Shed’s programming explores the nexus of aesthetic

THE

excellence and community development, continually reaching out to Western Australian communities with opportunities for people to explore their own creativity. Here are the highlights of FORM’s programming at The Goods Shed throughout 2017.

20

2017 ANNUAL REPORT

The Goods Shed Coffee Pod and gardens, The Flour Market, West Coast Bake.

Photograph by Taryn Hays, 2018.

“I love how everything here serves an artistic purpose, even the space itself. It reminds me very much of something my favourite musician Björk would do. I will definitely be returning here in the future.”

2017 ANNUAL REPORT

21

Year 12 student, after participating in a workshop at The Goods Shed.

L E V E L A N D V O L U M E S + Continuing their FORM residency into 2017, Austrian design duo mischer’traxler exhibited their innovative and interactive work for the first time in Australia. Their designs combine responsive technology and craft in order to draw people into conversations about ethics, nature, and ecology.

The Goods Shed exhibition, Level and volumes, featured a major interactive lighting installation that had premiered earlier in 2016 at the inaugural London Design Biennial.

LeveL: the fragile balance of Utopia was created in EX HIB ITION

response to the Biennial’s theme of ‘Utopia by Design’.

Inspired by balancing and scale systems, as well as the iconic mobile works of Alexander Calder, LeveL incorporated responsive, kinetic technology reacting to the bystander’s proximity in order to heighten that viewer’s awareness of the fragility of perfect systems. The exhibition also included other interactive installations, including one called curiosity cloud - chandelier, where mechanical insects in glass bulbs came to buzzing life as observers drew near.

Survey respondent, LeveL and volumes.

22

2017 ANNUAL REPORT

“I love that the work was inspired by environmental issues and made us think about how we live our lives and encourage us to live more consciously.”

LimitedMoths - Marumba quercus, mischer’traxler studio. Photograph by Bewley Shaylor, 2016.

RISK

RIGOUR

It held my interest and attention

The artists were not afraid to try new things

It was well thought through and put together

92%

98%

95%

98%

2017 ANNUAL REPORT

C A P T I VAT I O N

It had something to say about today’s world

23

R E L E VA N C E

24

2017 ANNUAL REPORT

EX HIB ITION

Painting Power opening night. Photograph

by Edwin Sitt, 2017.

KNOWLEDGE

CONCEPT

RIGOUR

AUTHENTICITY

I learned something more about Aboriginal culture

It was an interesting idea

It was well thought through and put together

It had a connection to the State we live in

98%

100%

100%

98%

P A I N T I N G P O W E R + Painting Power explored ritual, art, and land in a series of potent artworks by Aboriginal artists living in remote areas of Australia.

Vivid canvases evoked rain making rituals, ancestral narratives, the connection to stars and moon, and the manifestation of traditional land management practices, displaying the significance of art to Aboriginal life and the connection between the physical and spiritual realms. Art centres across northern Australia participated, including Ikuntji Artists, Martumili Artists, Mimili Maku Arts, Munupi Arts, Spinifex Hill Studios, Tjala Arts, and Warlukurlangu Artists.

Historically, art has always had a role in Aboriginal culture.

Significant artistic designs were often an enactment of the dynamism and energy of ritual and religious belief, and a means of connecting with heritage, community, and ancestors while simultaneously expressing the tangible, physical relationships between people and land. The art in Painting Power showed how this rich tradition has evolved and still continues, with work expressing risk-taking, experimentation, and the power of contemporary Aboriginal art practices to fuse different worlds, reflect concepts of ritual, and create meaning as vital now as it has ever been.

Enjoyed the exhibition very much, as did my guest. The pieces were well-composed, complex and colourful; their stories fascinating.

A great use of this space.

2017 ANNUAL REPORT

25

Survey respondent, Painting Power.

Nimbus Powerstation, Berndnaut Smilde. Image courtesy of the artist, Ronchini Gallery and FORM, 2017.

B U I L D E D R E M N A N T S +

BUILDED REMNANTS was the first Australian solo exhibition by internationally celebrated Dutch artist Berndnaut Smilde, who creates photographs, sculptures, and installations to capture moments of revelation that evoke hope and fragility. His works question duality, often through confusing scale, temporality, artificial weather phenomena, or the function of architectural spaces.

EX HIB ITION

An anagram of Smilde’s name, BUILDED REMNANTS showcased newly commissioned works developed by the artist during his 2016 FORM residency, when he travelled throughout the Pilbara and the South West, as well as launching Smilde’s monograph of the same name. Based on his reputation for artificially creating natural phenomena such as clouds and rainbows, FORM invited Smilde to create new works responding to the State’s regional landscapes, filtered through a critical approach to traditional Western understandings of landscape through Romanticism.

Smilde worked with renowned Western Australian photographer Bewley Shaylor to create a new series of Nimbus cloud images in evocative metropolitan locations, and for the first time outdoors, in Karijini National Park and the red dirt landscape outside of Roebourne in the Pilbara. On Australia’s most south-westerly point, a site first mapped by the Dutch several centuries ago, Smilde created an experimental rainbow work at the Cape Leeuwin Lighthouse.

BUILDED REMNANTS was an opportunity for Western Australian audiences to view this new work by one of the world’s leading contemporary artists.

“It’s so good to see art in response to landscapes and buildings like the East Perth Power Station it is such an important cultural artefact and we get to see it so rarely in our day-to-day.”

Survey respondent, BUILDED REMNANTS.

EX HIB ITION

Survey respondent, BUILDED REMNANTS.

28

2017 ANNUAL REPORT

This is such an amazing exhibition, I’m so happy I stumbled across it with time to check it out. Very inspiring and so interesting to watch the accompanying videos.

C A P T I VAT I O N It captures my imagination and attention

98%

LO C A L I M PAC T It is important that it is happening here

94%

EXCELLENCE It would hold its own anywhere

93%

AUTHENTICITY It makes me think about Western Australia

97%

2017 ANNUAL REPORT

29

BUILDED REMNANTS (installation detail), Berndnaut Smilde, Photograph by Bewley Shaylor, 2017.

Below left: Namorrorddo a profane spirit, Charlton Richards; Garnkiny Ngarranggarni (Moon Dreaming), Mabel Juli Wiringgoon.

Photographs by Bewley Shaylor, 2017.

EX HIB ITION

Below right: Installation of hollow log coffins, Earth Matters, (installation detail).

Photography by Bewley Shaylor, 2017.

E A R T H M A T T E R S + Earth Matters explored the significance of white ochre, or gapan, in Aboriginal artworks from the Kimberley, Arnhem Land, and the Tiwi Islands. Consisting of fibre, sculptural, and two dimensional works, the exhibition showed white ochre as a medium tied inextricably to tradition and culture, while also allowing more formal experimentation in abstraction and minimalism.

Featuring the work of eight Aboriginal art centres, Buku Larrnggay Mulka Centre, Bula Bula Arts, Maningrida Arts and Culture, Millingimbi Art Centre, Mowanjum Arts, Munupi Arts, Waringarri Aboriginal Arts, and Warmun Art earth, culture, and identity, as well as metaphysical and ancestral elements.

30

2017 ANNUAL REPORT

Centre, these artworks explored the interaction and connection between art,

KNOWLEDGE

C A P T I VAT I O N

RIGOUR

ENTHUSIASM

I learned something more about Aboriginal culture

It held my interest and attention

It was well presented and put together

I would come to something like this again

95%

98%

99%

99%

31

Survey respondent, Earth Matters.

2017 ANNUAL REPORT

Earth Matters is such an amazing opening title to what is a beautiful and purposeful exhibition. The material of the land as it has been used in the works shows the connection between the land and Indigenous cultures.

S P E A K E R P R O G R A M + FORM brought two speakers to The Goods Shed, Tim Jones (Canada) and Jason Roberts (US), to talk about the way the arts, culture, and creativity can turn ‘spaces’ into ‘places’, positioning creativity as vital to how we take ownership of public places and make them engaging, inviting, and welcoming to others. Both men have been exploring placemaking for many years, thinking about how the use P ROG RA MING

of public space can attract people, encourage them to mingle and linger, and influence how they feel about themselves and their connection to the wider community. Jones coined the term ‘creative placemaking’ and is now in demand all over the world for his work using the arts to transform cities and communities. Roberts is the founder of the Oak Cliff Transit Authority, Dallas, and the original Better Block Project, an organisation which takes blighted blocks with vacant properties and transforms them with temporary pop-up businesses, bike lanes, seating, and landscaping. Audiences drawn from placemaking, architectural, planning and community engagement professions came to hear Roberts and Jones give presentations and workshops.

32

2017 ANNUAL REPORT

Creative Place Making with Tim Jones, FORM’s Speaker Series. Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

33

C O M M U N I T Y P R O G R A M M I N G + Since opening The Goods Shed in 2016, FORM has managed the building as a space from which to reach out across the State to non-traditional arts audiences, as well as showcase high-quality exhibitions and artists. Using events such as virtual reality or flower arrangement workshops as ‘gateway’ events, visitors are also offered the high level artistic programming that FORM is known for, and the organisation puts effort into ensuring that its community programming encourages an increased arts audience. The Goods Shed is therefore a space for both engagement and interaction, and as a cultural hub it works to promote the integration of creativity

P ROG RA MING

into everyday life.

Throughout 2017 FORM curated opportunities for people to come together in this inspiring space to create, share, and innovate. It was the venue for some of the performances and panels for the 2017 Perth Poetry Festival. ‘Multicultural Voice - World in Words’ featured Hessom Razavi, an Iranian-Australian poet and Belgian-born Tineke Van der Eecken, who wove multiple languages and experiences of love and loss, and Kate Wilson, an award-winning performance poet, who invited the audience into her world of clever wordplay.

‘Voicebox’, an established event for the State’s spoken word poets, presented poetry and performance from five acclaimed poets: Luis Francia (US/The Philippines) and Australian poets Susan Fealy, Dennis Haskell, Mags Webster, and Andy Jackson.

Other highlights of FORM’s 2017 community programming included flower arrangement workshops facilitated by Debra Hayes Floral; The Type Club’s workshops for both beginners or experienced typographers, exploring typography and techniques; and two extremely popular ‘West Coast Bakes’ presented by the Flour Market, featuring product from Western Australia’s emerging, artisan, and underground bakers. Each market attracted well over 1000 people eager for a sugar rush. In addition, FORM collaborated to host a worksho[p exploring digital interactivity, apps, projection mapping, animation, and graphics.

34

2017 ANNUAL REPORT

with Perth’s award winning interactive media studio Hungry Sky

Virtual Reality workshop with Hungry Sky. Photograph by Edwin Sitt, 2017.

Top right: Flower arranging at Debra Hayes Floral workshop at The Goods Shed.

Photograph by Jessica Wyld, 2017.

36

2017 ANNUAL REPORT

Top left: The Flour Market, West Coast Bake, The Goods Shed. Photograph by Taryn Hays, 2017.

I love this space. Every time I enter it I feel inspired. The atmosphere it creates makes me feel like an artist. When I start exploring what it has to offer my imagination runs wild and I get excited.�

2017 ANNUAL REPORT

37

Survey respondent, The Goods Shed.

P ROG RA MING

I called my piece ‘The Pimind’. It’s a word I made up because I created something new, so I needed a new word.

LeveL and volumes workshop participant, 6 years old.

Creative Learning Program at the Goods Shed.

Photograph by Bewley Shaylor, 2018.

C R E A T I V E L E A R N I N G _ Everyone’s futures lie in the hands of forthcoming generations, and will depend on how young people navigate the challenges and opportunities of an increasingly technical and arguably less human-centred world. FORM’s Creative Learning program acknowledges that it is important to steer society’s expectations away from traditional pathways to traditional employment in order to embrace a more holistic and creative approach to our children’s future and their prospective occupations. In particular FORM looks at the role of arts and culture in connecting people, community cohesiveness, and exploring individual’s sense of place and identity.

The Creative Learning program introduces children and teachers to an innovative learning process via the intentional development, through creativity, of the understanding, capacity, knowledge, and skills that can equip young people to negotiate a rapidly changing world.

Offering workshops in art, writing, and creative thinking for children, FORM uses the guidance of 2016 expert in residence Paul Collard (UK).

The workshops encourage the development of ‘creative habits of mind’ that Collard has identified as the cornerstones of effective learning: being inquisitive, imaginative, persistent, disciplined, and collaborative.

Throughout 2017 primary and secondary students and their teachers have come to The Goods Shed to participate in workshops run by artists, and sensory responses to the building, its

39

surroundings, its history, and its contents.

2017 ANNUAL REPORT

performers, and poets, to explore their creative

S C R I B B L E R S _

If the equation for learning is (What I can do) x (What

Featuring three days of school-specific programming

I want to do) = What I do do, Scribblers Festival works

hosted by Scotch College and a weekend for families,

into it by providing opportunities for young people

Scribblers Festival offers dynamic, fun learning

to develop their skills (what they can do) and the

experiences for all ages. The inaugural festival

motivation (things they want to do), to accelerate their

brought 24 nationally and internationally celebrated

learning (what they do do).

authors to Perth, including UK political cartoonist Chris Riddell, American novelist and screenwriter

For many educators, teaching experiences are focused

Jesse Andrew’s and English poet A.F. Harrold. The

strongly on the skills development side of the equation.

program also featured dedicated programming for

When educators work in partnership with community

schools and families, teen podcasting workshops,

organisations to provide rich, immersive learning

a poetry-reading train conductor, and creative

experiences, they can also make a significant impact

workshops spanning live cartooning to collective

on the motivation side of the equation.

cartography to haikus upcycled from castoff books.

Scribblers Festival is an outcome of FORM’s

The festival is a collaboration between FORM and

dedicated two-year Creative Learning pilot trialing

the Town of Claremont seeking to ignite and nurture

creative education in primary schools and steered by

a lifelong love of reading. There is strong research

internationally recognized creativity expert Paul Collard.

evidence linking reading for pleasure with improved

The Creative Learning program introduces children

academic outcomes, both in reading and writing.

and teachers to an innovative learning process: the

Research has also demonstrated that a positive

intentional development, through creativity, of the

attitude towards reading can produce a ‘motivational

understanding, capacity, knowledge and skills which

stimulus that promotes and sustains learning’. We

can equip young people to negotiate a rapidly-

hope that the Festival will provide such a motivational

changing world. Creativity, we believe, is the skill

stimulus, creating opportunities for children and

crucial for everything the modern world expects of you.

adults to benefit from the immense value reading and storytelling hold for education.

become Scribblers Festival, marshaling the information

The focus on graphic novels at this year’s Festival

and skills that would turn it from a concept into a large

also provides opportunities for the development

scale event, forming the partnerships that have made

of student visual literacy skills. We know visual

it possible, marketing it and building it from the ground

literacy can improve student writing aptitude and

ready for delivery as a fully fledged program in 2018.

that drawing before writing particularly can improve

Encouraging children and young people to think

writing outcomes. FORM is tracking the impact of the

outside of the box means teaching them to solve the

Festival on student attitudes to reading and on their

problems of the future. Through the experiences

narrative writing skills through a rigorous research

Scribblers Festival brings to the community, we hope

framework. We hope to demonstrate the power of

to offer the gift of thinking differently, imaginatively

visual literacy, storytelling, and play with words in

and independently, and also to show parents, carers,

developing creativity in young people.

families, and educators that this gift can be nurtured through the natural aptitude the younger generation

Mathilda Joubert, Education Consultant,

has for experimentation, fun, and play with words.

from ‘The power of words and images to motivate learners’

40

2017 ANNUAL REPORT

During 2017 FORM laid the foundations for what would

2017 ANNUAL REPORT

41

Above and left: Scribblers School Program. Photograph

by Taryn Hays, 2018.

Untitled, Kyle Hughes-Odgers, PUBLIC Silo Trail Merredin. Photograph by Bewley Shaylor, 2017.

C U L T U R A L T O U R I S M _

Field of Light, Bruce Munro, Cheekwood Museum and Garden, USA, 2013. Image courtesy of the Bruce Munro Studio.

FORM’s creative projects seek to enrich our shared

Field of Light: Avenue of Honour and the PUBLIC

spaces, make art more accessible and nurture our

Silo Trail are projects that seek to cultivate regional

State’s dynamism and vibrance. Increasingly our work

pride, identity, and shared human experience.

is rooted in engagement with the culture, history, and

They are also projects that invite cultural tourism

geography of Western Australia’s regions. Art which

- tourism that focuses on cultural attractions and

tells a story about its surroundings.

activities as a primary motivating factor for travel.

When in 2015, FORM connected the State’s biggest

These projects align with examples of iconic artistic

grain handler, CBH Group, with two internationally-

installations, such Antony Gormley’s Inside Australia

celebrated street artists in the Wheatbelt town of

at Lake Ballard, which are cultural enticements

Northam we pioneered a new Australian art form -

to engage with a place, and which have become

the grain silo as canvas, and as land mark.

popular tourist attractions and drivers of significant visitation and economic impact.

During the past three years, the trail has put country Research by the Australia Council has shown

residents, and created a tourism incentive to Western

that in addition to high numbers of Australians

Australia’s far flung locales. The trail has turned some

participating in artsbased activities, the demand

of the State’s most established industrial assets, from

for arts tourism among international visitors has

grain silos to public walls and transformer boxes, into

grown by 19 per cent between 2011- 15. Last year,

an outdoor art gallery of world-class murals.

cultural tourists made up 65 per cent of all visitors to Victoria, at 1.8 million, up over 100,000 cultural

Building on this distinctive promotion of regional

visitors on the previous financial year.

Western Australia, FORM has commissioned the Field of Light: Avenue of Honour, an immersive art installation

Projects like the Field of Light: Avenue of Honour

by Bruce Munro. Launching this October in the State’s

and the PUBLIC Silo Trail assist regional Western

Great Southern, the Field of Light: Avenue of Honour

Australia in distinguishing itself, valorizing its

will gently illuminate the Avenue of Honour at Mt

culture, and finding new expressions for its society.

Clarence in homage to the Anzacs who departed from

They seek to meet the shift toward experiential

Albany for the Great War. The installation’s thousands

tourism and offer opportunities for increased pride

of glass spheres on slender stems will highlight the

and economic opportunity. Through projects like

region’s unique heritage and identity in sophisticated,

these FORM hopes to help our State’s regional

contemporary ways, celebrating Albany’s distinctive

communities thrive by supporting and celebrating

biodiversity and shining in the whites, yellows, and

the natural and industrial assets that make them

golds of the wattle and the kowhai; the national flowers

iconic.

of Australia and New Zealand.

EX HIB ITIO N

towns on the cultural map, told the stories of their

P U B L I C S I L O T R A I L + OVERVIEW

Combining street art with speaker events, exhibitions, workshops, design challenges, and residencies, since 2014 FORM’s PUBLIC Festival has sought to involve people from all walks of life in a conversation about how we can all play a part in shaping the places where we live. The inaugural festival in 2014 and subsequent iterations in 2015 and 2016 focused on the transformative power of art, through murals on buildings in the Perth CBD and surrounding metropolitan areas with some of the worlds best street P U B L IC

artists.

In 2017, PUBLIC’s focus settled definitively on Western Australia’s regions, through activations in regional communities throughout Western Australia’s Wheatbelt. Building off the success of the Wheatbelt silos, FORM entered a long term partnership with CBH Group to develop a ‘trail’ of silo artworks: the PUBLIC Silo Trail. In addition, the project expanded to other community infrastructure, such as transformer boxes, through a partnership with Western Power.

In 2017, the Wheatbelt town of Merredin was the latest to have its silos brought to life. Western Australian street artist Kyle Hughes-Odgers completed a mural on huge silos outside the town. Through his geometric yet playfully figurative paintings, Hughes-Odgers referenced local agriculture, farming, and the natural environment. When the painting was finished, HughesOdgers held a public artist talk for the local community, and a launch event was held for members of the local Additionally, Hughes-Odgers reached out to local school groups, who were invited to see the mural up close while hearing the artist talk about his practice.

Untitled, Kyle Hughes-Odgers, PUBLIC Silo Trail Merredin . Photograph by Bewley Shaylor, 2017.

46

2017 ANNUAL REPORT

community, project partners, stakeholders, and media.

P U B L I C S I L O T R A I L M E R R E D I N + Looks fantastic! We are so lucky to have this talented Western Australian artist painting our silos.

Survey Respondent, PUBLIC Silo Trail.

Stunning work, will be a destination for travellers from around the world now.

Top right: Karim Jabbari working on The Heart of the Great Southern, PUBLIC in Katanning. Photograph by Bewley Shaylor, 2017.

Bottom left: Untitled, Chris Nixon, PUBLIC in Katanning. Photograph

by Bewley Shaylor, 2017.

48

2017 ANNUAL REPORT

SILO

TRA IL

Survey respondent, PUBLIC Silo Trail.

P U B L I C I N K A T A N N I N G + Following on from Merredin, PUBLIC came to the Wheatbelt town of Katanning.

FORM partnered with Western Power and the Shire of Katanning to deliver a series of artworks on electrical transformer boxes and on walls throughout the town, enlivening the area and enriching the local sense of place. The artists involved were Western Australians Mel McVee, Brenton See, Chris Nixon, Darren Hutchens, as well as Karim Jabbari, a visiting artist from Tunisia, whose exhibition The Core (conceived during a 2016 residency in Albany) toured from The Goods Shed to Katanning, giving locals the opportunity to experience his lightgraff works. While in Katanning, Jabbari also delivered workshops for the local schools, guiding students in producing their own lightgraff works.

T H E

T R A I L +

They capture the imagination. Visible for miles around, the huge, colourful silos that are part of the PUBLIC Silo Trail stand as emblems of industry and endeavour. They are identifiers of the resilience of the people in Western Australia’s regional farming communities.

FORM’s intention is for them also to be an additional incentive for people to visit the Great Southern and

The work is magnificent. Well worth the trip just to see them. Wonderful.

Survey respondent, PUBLIC Silo Trail.

the Wheatbelt; to take a bit of time to immerse themselves in some of the State’s iconic landscapes and destinations around Northam, Ravensthorpe, TRA IL

Merredin and Albany, and the Lake Grace area.

By creating a self-drive route between towns, the

SILO

trail offers an opportunity for these places to build unique attractions for tourists connected to the rural calendar: like the wildflower season, harvest time, and winter breaks.

Projects like these highlight the potential of Western Australia’s regional communities in pursuing cultural tourism as a means of economic diversification and resilience. Tourism is one of the fastest growing industries in the world. Cultural tourism offers visitors a connection to cultural experiences, or to places with a unique identity. According to the World Tourism Organisation, in 2012 cultural tourism accounted for 37% of world travel, increasing at a rate of 15% year on year. For Western Australia, shaped by millennia of human activity and natural phenomena into a place of compelling sights and stories, this can only be good news.

Northam

HENSE and Phlegm, 2015

Merredin

Kyle Hughes-Odgers, 2017

Katanning

Various mural artists, 2017

Pingrup

To be announced, 2018

Newdegate Brenton See, 2018

Ravensthorpe Amok Island, 2016

Albany

50

2017 ANNUAL REPORT

The Yok and Sheryo, 2018

PUBLIC SILO TRAIL MAP

WESTERN AUSTRALIA

2

1 PERTH

5 4 3

7

6

P U B L I C A R T _

2017 PROJECTS

OPTUS STADIUM FRINGE ON WILLIAM GRANDSTAND AND RESERVE, CLAREMONT ON THE PARK BOTTLEYARD

P U B L IC

A RT

ALOFT HOTEL AH BRACKS KISHORN RD ALLENDALE SQUARE SIXTY FLOURISH GARDEN CITY CITY OF MELVILLE PUBLIC ART STRATEGY AND MASTERPLAN KARRATHA HEALTH CAMPUS KARRINYUP ESSENCE, CLAREMONT ON THE PARK TOWN OF CLAREMONT COUNCIL BUILDING MELVILLE PLAZA MIDLAND GATE REDEVELOPMENT ALBANY TOWN CENTRE CAROUSEL SHOPPING CENTRE CHARLES STREET

The Wandering (detail), Chris Drury, Optus Stadium.

Photography by Bewley Shaylor 2017.

A RT P U B L IC

P U B L I C A R T + OVERVIEW

From a stadium to a health campus, shopping centres to city wide strategies, small works to land art, FORM believes public art plays a vital role in communities, both by integrating art into people’s everyday lives, and by offering artists the opportunity to communicate with non-traditional arts audiences. To this end, FORM collaborates with architects, developers, fabricators, governments, the private sector, and Western Australian, national, and international artists to deliver site specific public art projects.

The Wandering (detail), Chris Drury, Optus Stadium. Photograph by Bewley Shaylor, 2017.

We seek projects that will have lasting impact, and we encourage work that responds to the site’s environmental, historical, and cultural context. We also specialise in offering assistance to emerging and first-time applicants in applying for public art opportunities, and this ability is enhanced by FORM being able to provide a full-service approach, which includes stakeholder engagement, creative development and strategy, curation, design, 2017 ANNUAL REPORT

55

fabrication, and installation.

A RT P U B L IC Convergence, Jon Tarry, Optus Stadium. Photograph by Bewley Shaylor, 2017.

56

2017 ANNUAL REPORT

O P T U S S T A D I U M _

Perth’s new stadium is a landmark on Western

The stadium precinct hosts sixteen public artworks,

Australia’s twenty-first century urban horizon. Its

and the majority are by Western Australian Aboriginal

location, on a prominent bend of the Swan River,

artists, some creating their first ever public art

looks westwards to the city and the ocean, and

commissions. Some of the artworks have a direct

east towards the Darling Ranges.

relationship with the stadium structure, in that they are specifically part of the fabric of the building. Others

With the distinctive cladding design of its

have been commissioned for the parkland surrounding

façade, the building evokes iconic qualities of

the building.

the Western Australian landscape: rock strata, expansive horizons, mineral wealth, and the

Three commissions—a statement ‘entrance’ sculpture

continuous cliff-edge relationship with the Indian

by Australian Jon Tarry, a land-based art piece by UK

Ocean. Erosions in the ‘rock’ façade create

artist Chris Drury, and a light and sound installation

dynamic ‘cave-like’ entry points, public terraces,

integrated into a pedestrian underpass by Australian

concourse circulation, and waterfront café-bars.

duo Chris Nixon and Tom Lucey—are covered by the Percent for Art Scheme, which allocates a portion of a

FORM, engaged with the project bid team

development’s budget for public art.

since 2012, worked closely with the Noongar community to establish three guiding principles

The remaining commissions are discretionary.

for the stadium - Our People, Our Land, and Our

Thanks to the guidance of the Whadjuk Working

Sport. These concepts went on to inform not

Party Advisory Group, and generous sponsorship

only the public art, but also the landscape and

from both BHP and Chevron, these are exclusively

the architectural design of Optus Stadium.

fulfilled by Noongar artists, whose installations range from functional (shade canopies) through to artworks

Charged with devising and executing

designed for play and interaction, and major pieces

the public art strategy for the stadium and its

which signal the important Aboriginal stories and sites

surrounding parkland on this premise, FORM

of this area.

engaged artists from Perth and the UK following an international call out, and helped them

Which is how, for example, a poem in English and

navigate the process from initial concept to

Noongar comes to be wrapped around the stadium

installation.

façade; and why Noongar seasons are explored in the surrounding parkland. One of them, Djeran, the fertility

FORM’s expertise for this undertaking is derived

season, is marked by the ‘life story’ of an emu egg

from over a decade of working with Aboriginal

while another, the wildflower season of Kambarang,

artists, many of whom have participated in

is represented by a shade canopy scattered with

Land.Mark.Art, FORM’s Aboriginal Design

star-like everlastings. To the north and south, the

Development program.

site is punctuated by two scaled-up representations of Whadjuk message sticks by Barry McGuire, an

2017 ANNUAL REPORT

57

invitation for all nations to come together in one place.

A RT P U B L IC

This has been our strongest case of social investment in any project, worldwide.

Chevron.

ARTISTS Ned Beckley – Western Australia Steve Berrick – Western Australia Tjyllyungoo Lance Chadd – Western Australia Jade Dolman – Western Australia Chris Drury – United Kingdom Sharyn Egan – Western Australia Miranda Farmer – Western Australia Kylie Graham – Western Australia Tom Lucey – Western Australia Norma MacDonald – Western Australia Barry McGuire – Western Australia Laurel Nannup – Western Australia Chris Nixon – Western Australia Sam Price – Western Australia Djinda Kaal Fiona Reidy – Western Australia Kim Scott – Western Australia Jonathan Tarry – Western Australia

Top: Sound & Colour, Chris Nixon and Tom Lucey, Optus Stadium.

Photograph by Bewley Shaylor, 2017.

Bottom left: Waabiny Mia (Play House), Sharyn Egan, Optus Stadium.

Photograph by Taryn Hays 2017.

Bottom: Waanginy Boorna (Message Stick), Barry McGuire, Optus Stadium.

Photograph by Bewley Shaylor, 2017.

F R I N G E O N W I L L I A M +

In July 2014 FORM was contracted to provide art consultancy services to ABN Group for two public artworks for the Fringe on William development.

Local artist Kyle Hughes-Odgers was chosen by the client and the architect to create two artworks: a bespoke screen and painted wall mural throughout 2017. A third artwork, a mural by Kyle Hughes-Odgers, was commissioned for the development, above and

P U B L IC

A RT

beyond the Percent for Art requirement.

B O T T L E Y A R D + The Bottleyard is a major new residential development near Robertson Park in Northbridge. FORM was appointed by Handle Property Group to deliver three artworks. The first, a mural by Belgian artist ROA, featured a possum species found in the area, which spans four storeys and is visible from the apartments as well as the street.

The second is a triptych of murals by Western Australian artists Fecks, Amok Island, and Kyle Hughes-Odgers, facing onto the park, and focussing on the history of the site. The final artwork is a sculpture

by Melbourne artist James Tapscott, using bottle fragments found during the excavation of the site. With these, Tapscott made an entry statement to the development, and gained a further commission to create a number of light boxes using the same process throughout

Top left: Bespoke screen, Kyle Hughes-Odgers, Fringe on William. Photograph by Dion Robeson, 2017.

Left: Untitled, ROA; Bespoke glass installation, James Tapscott, The Bottleyard. Photograph by Dion Robeson, 2017.

61

Top right: Untitled, Kyle Hughes Odgers, Fringe on William.

Photograph by Dion Robeson, 2017.

2017 ANNUAL REPORT

the private courtyard spaces of the development.

P U B L IC

A RT

I Once Stood Here, Anne Neil, Allendale Square. Photograph by Bewley Shaylor, 2017.

A L L E N D A L E S Q U A R E + Allendale Square is a commercial tower in the heart of the Perth CBD. The redevelopment project aimed to reinvigorate the precinct by providing highquality zones of activity and interaction. FORM’s Public Art Team worked on the procurement of an iconic sculptural statement artwork for the artwork I Once Stood Here draws influence from the Eucalyptus rudis trees that once stood along the banks of the Swan River, while also responding to the geometric architecture of Allendale Square.

62

2017 ANNUAL REPORT

prominent entry forecourt. WA artist Anne Neil’s

C I T Y O F M E L V I L L E + P U B L I C A R T S T R AT E G Y AND MASTERPLAN

The City of Melville appointed FORM to develop its Five Year Public Art Strategy and Masterplan Document, which provides a curatorial and technical framework for all new public art commissions. The City wanted to make sure that it could curate a cohesive public art collection surpassing best practice standards.

The Art Strategy was initiated in May with research and consultation with the local community, including a video showcasing public art benchmark projects and some of the corresponding benefits to place/city/community, a children’s interactive art and mapping event at Palmyra Farmers Market, and an online photography competition.

This undertaking marks a pivotal shift and strategic approach to wider community development for the City of Melville, highlighting an appreciation for carefully curated artworks that improve the connectivity of various places and their relationship with the rest of the City area.

Untitled 4, Gwenaël Velge. Image courtesy of the artist.

K A R R A T H A H E A L T H C A M P U S + Karratha’s new Health Campus will hold a significant collection of artworks and public art, delivered by FORM, when it is launched in 2018.

Ian Dowling and Leanne Bray have both been commissioned for 3D wall based artworks in the main entry wall and internal stairway wall respectively. A number of 2D artworks have been directly procured from artists with a strong connection to the region, and others are currently A RT

completing commissioned work. Roebourne

P U B L IC

Art Group artist Cliff Samson’s work has been selected to feature on wayfinding across the precinct. Kyle Hughes-Odgers will be painting a large mural on site, and 3D artist Simon Gilby will be creating a statement artwork in the landscape.

T O W N O F C L A R E M O N T C O U N C I L +

The Town of Claremont revamped the public forecourt of its Administration and Council Chambers. A standalone sculptural artwork doubles as a piece of furniture, effectively encouraging people to sit and linger; the art itself overall. Western Australian artist Alex Fossilo was commissioned and completed the work in 2017.

64

2017 ANNUAL REPORT

enhances the aesthetic of the area

A L B A N Y T O W N C E N T R E + Through Seed Design for the City of Albany, FORM has been appointed to prepare a public art strategy for the Albany City Hub. In a precinct-wide approach, this strategy will ensure that artwork is considered in a holistic manner.

A high priority is the development of visual markers of Indigenous culture, with the Mokare sculpture currently installed in the Alison Hartman Gardens setting the tone for storytelling across this site. This provides an opportunity for artistic outcomes to showcase the Indigenous culture and history of Albany.

FORM continues work on the strategy that will identify all artwork and interpretation opportunities, as well as the indications of appropriate curatorial themes and proposed best practice procurement methods.

M E L V I L L E P L A Z A +

Two murals celebrating the local area and adding a sense of playfulness are now in situ in the community spaces at the Hawaiian-owned Melville Plaza.

Responding to the nearby Point Walter landscape and celebrating Bicton’s connection to the river, Chris Nixon’s artworks act as an uplifting welcome. FORM was responsible for the art strategy and procurement, and followed the guidelines set out in the public art strategy we developed with the City of Melville.

Visitants opening, Photograph by Bewley Shaylor, 2017.

F O R M G A L L E R Y _

G A L L ERY FORM

8 2 3 + B Y TA - K U

823 was a creative project by Ta-ku, a multi-disciplinary artist from Perth who has received international attention for his music. Ta-ku’s fascination with the analogue processes of film allows him to document his world travels, and this exhibition displayed a journal in photographs of his personal experiences while collaborating with different artists and exploring new mediums. In the front gallery space, eight photographs by Ta-ku were exhibited, and in the main gallery room, artist Sam Price augmented Ta-ku’s photographs via projection, creating small illuminated vignettes that interlinked the prints.

The result was the telling of a unique story as part of a larger narrative that

68

2017 ANNUAL REPORT

reflects the connectivity of the modern world.

Beautiful space and great setup, great vibes!

Survey respondent, 823 by Ta-ku.

823 by Ta-ku opening, Photographs

by Jessica Wyld, 2017.

F L I G H T +

ABORIGINAL PERSPECTIVES FROM THE SKY

Flight: Aboriginal Perspectives from the Sky, co-curated with Dr Darren Jorgensen, explored Aboriginal peoples’ experience of both literal and metaphysical flight across Country, and featured works from Mangkaja Arts Resource Agency Aboriginal Corporation, Martumili Artists, Papulankutja Artists, Spinifex Hill Studios, Tjanpi Desert Weavers, Tjarlirli Artists, Warakurna Artists, Waringarri Aboriginal Arts, and Warlayirti Artists. From Dreaming stories EX HIB ITION

to the necessity of helicopters when working and living in remote Western Australia, the exhibition told a story of resilience and renewal in the face of rapid technological change.

Taking their cue from the fact that Aboriginal painting often demonstrates a mapping of Country so detailed and nuanced that it seems to come from an aerial perspective, the artworks explored both traditional and contemporary stories of flying machines, birds, spirits, and Dreamings. Flight represented FORM’s ongoing commitment to bringing artists from remote Western Australia to metropoliton audiences. Such efforts not only allow Aboriginal people to tell their stories, but also provide, through sales of the work, vital

70

2017 ANNUAL REPORT

income streams for Indigenous people.

2017 ANNUAL REPORT

71

Helicopter chasing camels, Dianne Golding.

Photograph by Bewley Shaylor, 2017.

72

2017 ANNUAL REPORT

Paintings by Helicopter (Joey) Tjungurrayi, Flight (installation detail). Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

73

W I L D S I L E N C E + David Charles Collins established his art practice in Perth before moving to Sydney in 2015. Over recent years he has gained national attention for his richly sensual photographic and video works, which reference the aesthetics of highRenaissance painting to critique the hedonism, decadence, and apathy of his generation.

In 2016 FORM commissioned Collins to travel to Western Australia’s remote southern regions and create a new body of botanically-themed works EX HIB ITION

in conjunction with the Ravensthorpe Wildflower Festival, delivering a workshop for the local community during his stay. His resulting photographic series, Wild Silence, documents the iconic orchids of the Fitzgerald Biosphere, an area of nationally-significant biodiversity at the border of the Great Southern and GoldfieldsEsperance regions.

‘Each photograph is an abstracted portrait,’ Collins explains, ‘the flowers, initially hard to see and find, still carried the weight and history of the place in which they had quietly existed.

Becoming more than flowers, I conceptualised them as individuals in a community, all tacitly aware of the knowledge of the land they inhabited. I found these silent bodies heavy with the secrets they keep to themselves.’ In striking contrast to the high-baroque sensibility of Collins’ previous works, the images have a stark and minimal beauty, representing a new direction in his practice.

Top: Wild Silence 7 (detail), David Charles Collins.

Photograph by David Charles Collins, 2017.

Right: Wild Silence (installation detail), David Charles Collins. Photograph by David Charles Collins, 2017.

C A P T I VAT I O N

AUTHENTICITY

EXCELLENCE

This work feels well thought through

This work captured my attention

This work makes me think of Western Australia

This work would hold its own anywhere

89%

89%

83%

80%

I really love this work and appreciate that artists such as he are enabled to bring their talents back to Western Australia. Beautiful representation of native flora of rural WA.

75

Survey respondent, Wild Silence.

2017 ANNUAL REPORT

RIGOUR

76

2017 ANNUAL REPORT

EX HIB ITION

What’s your name. It’s a symbol. Don’t talk., Gian Manik.

Photograph by David Charles Collins, 2017.

ENTHUSIASM

C O L L A B O R AT I O N

RISK

C A P T I VAT I O N

I’d like to see more work by the artist

This work included many perspectives

I feel the artist tried new things

This work challenged my expectations

91%

76%

76%

78%

What’s Your Name. It’s a Symbol. Don’t Talk. is the outcome of Gian Manik’s residency with FORM, where the Perth-born, Melbourne-based artist was invited back to Western Australia for a residency in Port Hedland. The resulting exhibition showcased a spectacular 10-metre long canvas produced in partnership with students from Hedland Senior High School.

Manik mentored 53 students from years 6-12 in drawing and painting techniques, inviting them to work directly onto his canvas. His own impressions of the Pilbara were then over-painted to create a bold collaborative work. ‘I liked the way that a small section was rolled out at a time, the children sat around it, and then did their work’, he explains, ‘and I worked similarly, paying little attention to perspective and orientation, let alone relational aesthetics, so there is little in terms of landscape/ story as is expected in most mural work.’

Since moving to Melbourne in 2011, Manik’s work has focused almost exclusively on the depiction of foiled, mirrored and reflective surfaces. What’s your name.

It’s a symbol. Don’t talk. allowed Manik to showcase a new chaotic, layered aesthetic combining diverse mark-making and humorous juxtaposition. ‘It was interesting to use familiar imagery within my practice landscape that I took on arrival’ he stated of the work, ‘for me, this joined expected and experiential reflections of the landscape, both literal in the photography of the land, and re-imagined, within the reflections captured in the foils.’

For the exhibition at FORM Gallery, the canvas work was accompanied by a site-specific installation comprising a photograph and a graphic spray2017 ANNUAL REPORT

painted directly to the gallery wall.

77

W H A T ’ S Y O U R N A M E .

I T ’ S A S Y M B O L .

D O N ’ T T A L K +

such as mirrored foils, alongside imagery of the

C A P T I VAT I O N It held my interest and attention

96%

V I S I T A N T S + CLOSE ENCOUNTERS WITH REMOTE WESTERN AUSTRALIA Visitants brought together three acclaimed artists, Consuelo Cavaniglia (NSW), Penny Coss (WA), and

RISK The artists were not afraid to try new things

88%

Berndnaut Smilde (The Netherlands), showcasing outcomes from residencies in the Pilbara, particularly Karijini National Park, undertaken during 2016. All three artists share an interest in capturing moments of experience, particularly of the natural world, that inspire wonder, or a sense of personal revelation. At the heart of each practice is the illusionary potential of colour and light, frequently employed to evoke sensual and

EX HIB ITION

RIGOUR It was well thought through and put together

92%

transformative experiences.

Cavaniglia uses transparency, reflection, and colour relationships to confuse foreground and background, or disrupt the relationship between viewer and artwork, placing her audience in a state of pleasurable instability.

Coss employs layering, carefully controlled staining, and scale to interpret her experience of the natural world via

AUTHENTICITY It made me think of Western Australia

79%

luminous abstract and collaged compositions. Smilde creates photographs, sculptures, and installations that aim to capture fleeting moments of revelation, often by recreating naturally-occurring phenomena such as clouds and rainbows.

The resulting exhibition translated the artists’ experiences in Karijini into large-scale abstract compositions and immersive installations. Visitants made full use of FORM

Top: Unflattened Karijini, Berndnaut Smilde. Photograph by Bewley Shaylor, 2017.

78

2017 ANNUAL REPORT

Bottom: L-R: Soft Fall (with blue pool), Suspended Wind (in blue territory), Into the Fold (of my arms), Penny Coss.

Photograph by Bewley Shaylor, 2017.

Gallery’s height and scale to showcase works that loomed over or surrounded viewers, or stained them and the gallery walls with colour and light, mimicking the artists’ own encounters with a landscape that is as threatening and destabilising as it is beautiful.

80

2017 ANNUAL REPORT

Untitled (atmospheres), Consuelo Cavaniglia.

Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

81

G A L L ERY CO U RTHO U SE HEDL A ND PO RT The West End Markets. Photograph by Bewley Shaylor, 2017.

P O R T H E D L A N D C O U R T H O U S E G A L L E R Y _

The Port Hedland Courthouse Gallery, managed by FORM since 2007, is more than just a gallery; it is the hub of a wealth of community programming designed to facilitate the town’s explorations of creativity in all its forms. From artist development workshops to creative business development series, the Gallery sees it role as leading the development of culture and the arts in Port Hedland. The gallery delivers programming designed, in short, to help people to feel better about themselves, their community, and the place where they live. But just as important is the Gallery’s exhibition program, where local talent is given a platform to share understandings of place and identity, and where Statewide, interstate, and international artists are brought in, usually via residency programs, to offer unique ‘outsider’ perspectives on Port Hedland and the Pilbara. In total over 21,000 people visited the gallery throughout 2017, and it is estimated that the Port Hedland Courthouse Gallery generated over $240,000 for regional creatives, as well as providing 21 workshops for 769 attendances. The following surveys highlights from the Port Hedland Courthouse Gallery’s 2017 programming.

O B S C U R A +

OBSCURA was an exhibition that presented the culmination of contemporary photography works produced by thirteen emerging local photographers over a week-long photography camp in Karijini National Park. Guided by professionals Bewley Shaylor (Perth) and Meleah Farrell (Albany), the photography camp participants were challenged to capture the Pilbara landscape in non-traditional ways. The resultant exhibition, OBSCURA, explored new techniques in abstract photography, demonstrating a focus on the colour,

C A P T I VAT I O N

RIGOUR

AUTHENTICITY

RISK

It held my interest and attention

it was well thought through and put together

It had a connection to Western Australia

The artists were not afraid to try new things

92%

88%

84%

88%

Top left: OBSCURA (installation detail) Photograph by Bewley Shaylor, 2017.

Top right: OBSCURA opening.

Photograph by Bewley Shaylor, 2017.

84

2017 ANNUAL REPORT

EX HIB ITION

form, light, and texture of Karijini.

Very impressed with all the exhibits by the extremely talented artists. It is a privilege to view their work.

2017 ANNUAL REPORT

85

Survey respondent. OBSCURA.

EX HIB ITION

Far left: Worn Land (installation detail).

Photograph by Bewley Shaylor, 2017.

Left: Worn Land opening.

Photograph by Bewley

W O R N L A N D +

Worn Land showcased the results of artist residencies undertaken by Melbourne-based contemporary jewellers Nicky Hepburn, Yuko Fujita, Natalia Milosz-Piekarska, and Pennie Jagiello. The project developed over a two-year period, and resulted in the jewellers responding in different ways to the rich layers of history and culture that comprise the Pilbara.

Premiering at The Goods Shed in 2016 before travelling to the Pilbara, the innovative and site-specific artworks explored the disorientating intersection of desire and displacement that can accompany an experience of place, and through this offered a unique perspective on the relationships between our bodies

AUTHENTICITY

RIGOUR

RISK

It was different from things I have experienced before

It had a connection to Western Australia

It was well thought through and put together

The artists were not afraid to try new things

89%

85%

80%

89%

2017 ANNUAL REPORT

DISTINCTIVENESS

87

and the place that we inhabit.

EX HIB ITION

T R A C E E L E M E N T S +

Night Beasts (deatil). Elle Campbell, Photograph by Bewley Shaylor, 2017.

Trace Elements was a group exhibition that featured work from seven significant Australian artists: Breckon, David Brophy, Elle Campbell, Ishmael Marika, Tommy May, Illiam Nahgoodah, and Michele Theunissen. Their bodies of work offered unique meditations on the nature of journey and organic, cyclical process reinvigorated by these artists’ contemporary approaches to media. Each one articulates an intimate connection with time and place, namely, with the raw and beguiling Australian landscape. Trace Elements also involved the unveiling of Fluid Journeys, a temporary installation co-created by David Brophy, children, and their families from the local community.

I absolutely loved Trace Elements. All the works were very different. The juxtaposition between Tommy May (the elder) and Illiam Nargoodah (the youth) was very pertinent, between them, the dramatic, dark work of Elle Campbell. It was confronting.

RIGOUR

Contemporary art enriches local culture

It was well thought through and put together

92%

89%

RISK

C A P T I VAT I O N

The artists were not afraid to try new things

It held my interest and attention

94%

88%

2017 ANNUAL REPORT

POSITIVITY

89

Survey respondent, Trace Elements.

90

2017 ANNUAL REPORT

Disappearance, Michele Theunissen.

Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

91

F E E D +

In Kelvin Allen’s debut solo exhibition Feed, a collection of hunting and gathering stories retold in paint, demonstrated his rich relationship with the land. Allen began painting seriously soon after South Hedland’s Spinifex Hill Studios was established in 2014, and soon became known for his confident, fluid marks that recorded personal stories from hunting and life on Country. While his work bears a fusion of influences from the artists surrounding his upbringing, Allen’s style is very much his own. The artist’s bold and intuitive brushwork was recognised in 2016 when selected for the Revealed: New & Emerging WA Aboriginal Artists retrospective at Fremantle Arts Centre.

‘I was born in Port Hedland in 1982. My Mum was from Warralong and my Father come from Jigalong. I been watching my family paint for years. I was thinking about pictures a long time and now I started to put ‘em down. These paintings are hunting stories for animals that we do with family. I only paint animals I’ve seen with my eyes.’

Kelvin Allen.

92

2017 ANNUAL REPORT

Audience with Kelvin Allen’s Feed. Photograph by Bewley Shaylor, 2017.

93

Survey respondent, Feed.

2017 ANNUAL REPORT

I loved the bright colours in these artworks.

Very vibrant and alive. The didactic panel was also unpretentious - which was lovely.

There was a sincere humility in the script.

EX HIB ITION

F L I G H T +

ABORIGINAL PERSPECTIVES FROM THE SKY PORT HEDLAND TOUR: see previous section for more information

Working between Puntawarri and Pimbi Jurnu, Helen Samson, Martumili Artists, Newman. Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

95

A Y E A R I N T H E M A K I N G + A Year in the Making featured work by twelve local jewellers who created a unique exhibition centred around twelve different themes over twelve months. The exhibition exposed new audiences to a diverse range of dynamic, conceptual, and contemporary jewellery, raising awareness of the enduring relevance of work made by hand. The exhibition toured to Port Hedland Courthouse Gallery as part of its EX HIB ITION

Statewide tour with Art on the Move.

‘Jewellery making is often a solitary practice, and in this age, much is driven by computer aided design, new technology and cost savings. I wanted to bring together a diverse group of jewellers to work together and push the boundaries of their normal practice, highlighting the

ARTISTS

still valid process of the handmade and the underlying narrative and content with

HELENA BOGUCKI

contemporary jewellery.’

SARAH ELSON CLAIRE MOODY

Claire Townsend, exhibition coordinator and contemporary jeweller.

PHILIP NOAKES J U L I E A N N O G I LV I E JILL PARNELL

Audience at A Year in the Making. Photograph by Bewley Shaylor, 2017.

BRENDA RIDGEWELL L E A N N E R YA N

CLAIRE TOWNSEND C H R I S T E L VA N D E R L A A N ROBIN WELLS

96

2017 ANNUAL REPORT

JACQUIE SPROGOE

H E D L A N D A R T A W A R D S 2 0 1 7 + The 2017 Hedland Art Awards, hosted at the Port Hedland Courthouse Gallery, showcased the creative talents of artists based in the Pilbara, Kimberley, Gascoyne, Mid West, and Goldfields-Esperence regions of Western Australia. The Awards are an important means by which regional artists can share their experiences of place, and their innovations in contemporary practice. The opening events and Awards ceremony are an opportunity for EX HIB ITION

finalists to share their artwork with friends, family, and the larger community.

As part of the opening night’s entertainment the Djuki Mala dancers, from North East Arnhem Land, performed their dance, fusing traditional Yolngu and contemporary pop culture, dance, and storytelling to perform a work that showcases clowning, timing, and comedy.

Over $100,000 is shared between nine winners and in 2017, 88 works were selected for admission from more than 250 entries. 2017 Hedland Art Awards judges were independent Emilia Galatis, Fremantle Art Centre curator

L-R: Myroodah Station, Maggie Green; Wantili, Bugai Whyoulter. Photograph by Bewley Shaylor, 2017.

98

2017 ANNUAL REPORT

Ric Spencer, and artist Tarryn Gill.

Fabulous to see so many people at an opening supporting regional art.

Exciting to see the breadth of work.

Survey respondent, Hedland Art Awards.

EX HIB ITION 100

2017 ANNUAL REPORT

Intermediate Pots, Clare Peake. Photograph by Bewley Shaylor, 2017.

2017 Hedland Art Awards Winners Most Outstanding ($30,000)

YUNKURRA BILLY ATKINS

- Kumpupirntily

Best Work by a Non-Indigenous Artist ($20,000) CLARE PEAKE - Intermediate Pots

Best Work by an Indigenous Artist ($20,000) - Untitled

GLORIA

Kathy Donelly Award ($10,000)

DOREEN CHAPMAN

- Untitled (Mona Lisa)

Best Sculptural Work ($8,000)

SEBASTIAN ARROW

- Jalinyi

Best Work in a Medium Other than Painting ($8,000) - Drifter

NYAPARU WILLIAM GARDINER

Best Work by an Artist Under 25 ($2,500) - Captain Hedland’s Day Off

LAYNE DHU-DICKIE

Encouragement Award ($2,000) NOLA CAMPBELL - Ngikin Ngikin

2017 ANNUAL REPORT

101

People’s Choice Award ($1,000) MELISSA NORTH - Towards 80 Mile

DEVELOP MENT A RTISTIC A ND B U SINESS Colour Theory workshop with Consuelo Cavaniglia. Photograph by Bewley Shaylor 2017.

B U S I N E S S A N D A R T I S T I C D E V E L O P M E N T _

C B D S + C R E AT I V E B U S I N E S S DEVELOPMENT SERIES

The Creative Business Development Series is designed to provide the tools and confidence to support successful small creative enterprises in Port Hedland.

The Series is specifically geared towards supporting aspiring West End Markets stallholders, including makers, artists, photographers, and other creatives. It DEVELOP MENT

comprises talks and workshops, encompassing topics including marketing and promotion, basic business start-up information, branding, website development, and product diversification. FORM has been running this programming and similar professional development for small creative businesses in the regions since 2010.

A RTISTIC

For 2017, the Creative Business Development Series

B U SINESS

A ND

included:

•

Turning pro, hobby to a business with Meleah Farrell

•

Business Basics Seminar, with RSM Business Local

•

Brand Development & Strategy Seminar with Becc Sharrock

•

Website design and development small group seminars with Lou Griffiths

•

The Point of the Sale Workshop with Kitty Came Home with Farley Wright

•

ArtsLaw Seminar ‘The Legal Side of Social Media’ with Suzanne Derry

•

From the Idea to the Shelf & Tales from a Creative Startup with Magpie Goose Creative Styling Masterclass with Kitiya Palaskas

Top: Consuelo Cavaniglia teaching as part of the Creative Business Development Series.

Photograph by Bewley Shaylor, 2016.

Bottom: Creative Business Development Series workshop. Photograph by Bewley Shaylor, 2017.

104

2017 ANNUAL REPORT

•

The workshop allowed me to think about my business not only in a local context, but how it fits in with WA and Australia-wide.

2017 ANNUAL REPORT

105

Survey respondent, Creative Business Development Series

A R T I S T I C D E V E L O P M E N T P R O G R A M + To nurture local artistic talent, and prepare artists within the Pilbara community for an increasingly competitive Hedland Art Awards, the Port Hedland Courthouse Gallery hosts an extensive series of arts development workshops for the Port Hedland and wider Pilbara community. Such workshops there have been limited opportunities for artists to develop and expand their practice. Featuring local, State, and interstate practitioners as facilitators, the Gallery’s workshop program has been embraced by the local community, and continues to find ways to develop excellence in artistic practice in the Pilbara.

Workshops offered throughout 2017 included:

•

B U SINESS

A ND

A RTISTIC

DEVELOP MENT

are important in the Pilbara, where traditionally

Polaroid Emulsion Lift Workshop with Meleah Farrell

•

Drawing and Painting Workshop with Gian Manik

•

Solar Printing Workshop with Meleah Farrell

•

Levitation Photography Workshop with Katie Breckon

•

Jewellery Making Workshop with Christel van der Laan

•

Oil Painting with David Hooper

•

2017 Artist Camp with Meleah Farrell and Julie Holmes Reid

•

Felt Craft Workshop with Kitiya Palaskas

•

Copywrite 101 with Robyn Ayres Arts Law Centre of Australia

Trace Elements workshop.

Photograph by Bewley Shaylor, 2017.

Mirroring work undertaken in Perth in collaboration with creative learning expert Paul Collard, the Port Hedland Courthouse Gallery offered a number of opportunities for young people to practice the ‘creative habits of mind’, being ‘inquisitive, imaginative, persistent, disciplined, and collaborative’. Such opportunities are important for young people everywhere in a rapidly changing world, however they are especially important to offer these types of opportunities to regional students in order to reduce the necessity of families relocating to Perth to continue their child’s education.

Throughout 2017, these opportunities included:

•

Fluid Journeys Collaborative Sculpture Workshop with David Brophy

•

South Hedland High School Specialised Art Program with David Brophy

•

Puppet Workshop with Erth

•

School mural project with Gian Manik

•

Weekly Kids Art Club

Survey respondent, Artistic Development Program.

2017 ANNUAL REPORT

Please, please, please keep doing what you’re doing.

This creative connection to community is so positive and greatly improves living in this town!

107

C R E A T I V E L E A R N I N G P R O G R A M +

COMMU NITY

PRO G RA MMING

C O M M U N I T Y P R O G R A M M I N G _

W E S T E N D M A R K E T S +

A N D A C T I VAT I O N O F T H E W E S T E N D

The West End Markets, held in Port Hedland’s historic West End four times a year between March and October, provide an opportunity for the local community to come together and celebrate the designers, makers, and provedores that live and work in the Pilbara. The Markets are a fixture of the Port Hedland social calendar, and play an important role in allowing the community to interact more directly with FORM and its programming.

Since 2010, the West End Markets have been supporting small and micro businesses, giving practitioners a vital outlet through which to market their products, and allowing the community to invest back into the Pilbara through purchasing local artisan product. In 2017, the Markets supported 107 local makers, and were visited by more than 13,500 people.

This year’s highlights included a friendly roving water dragon, live dinosaur puppets by performers Erth Theatre, contemporary jewellery workshops for young people by Christel van der Laan, and a large scale photo booth installation by Stunning Walls. The Markets also included craft workshops for young people including an interactive sculpture with David Brophy, silk painting with Jen Hourquebie, and origami and pinwheel craft with Pom Pom A Day. Every Market has live music by local musicians, a pop-up bar, and artisan hawker-style food offerings.

In addition, the Gallery staged a number of local community events offering opportunities to socialise and engage with the artistic programming on offer. Art After Dark, a regular feature in the Gallery calendar, hosts Port Hedland locals with a local or visiting creative and activities. The event provides an opportunity for those who cannot attend during work hours to engage with the Gallery’s current exhibition. During the Hedland Art Awards, almost 300 people attended Fun in the Sun, a morning for Hedland families to enjoy a BBQ breakfast and a drop-in craft workshop by Kitiya Palaskas. In July the Gallery hosted a Winter Solstice Weekend, which included the and a long table dinner.

109

Djuki Mala dancers at The West End Markets.

Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

West End movies, yoga in the gardens, a walk-in wardrobe bazaar,

COMMU NITY

PRO G RA MMING

“I had a great time at the West End Markets.

We’ve done many markets over the years and I have to say this was one of the best community markets I’ve attended. The dragon was a great addition. The market was relaxed, great signage and it had the perfect balance of food and product stalls. I think it’s obvious that Port Hedland needs these events to continue.”

2017 ANNUAL REPORT

The West End Markets. All photographs by Bewley Shaylor, 2017.

111

Jane Kind, Future Shelter.

SHS

S P I N I F E X H I L L S T U D I O S _

Myroodah Station (detail), Maggie Green. Photograph by Bewley Shaylor. 2017

SHS

Charlie Njana painting at the Spinifex Hill Studios. Photograph by Bewley Shyalor, 2017.

114

2017 ANNUAL REPORT

S H S O

P I T V

I N I F E X L L U D I O S E R V I E W +

FORM has managed and supported the South

2017 is also notable for the prodigious amount of

Hedland-based Spinifex Hill Artists (SHA) since

prizes and exhibition opportunities for the artist

2008 through a program of substantial artistic

group. Artists have exhibited in Brisbane, Perth,

and business development. The purpose-built

Melbourne, Darwin, Hobart, and Fremantle as

Spinifex Hill Studios opened in 2014, thanks to

well as locally in Port Hedland and Cossack. This

an investment by FORM’s regional partner BHP

expanded exhibition program is only possible with

and State and Federal Government, and they

a strengthening artist base, daily dedication, quality

aim to provide a calm, safe, and neutral space

artwork, and experienced management. The

for artists to work in, in addition to ongoing

most notable exhibition achievements have been

professional development that aims to increase

Nyaparu (William) Gardiner’s two solo exhibitions

a sense of personal well-being. Importantly,

in Brisbane and Melbourne to accompany his

the Studios also provide alternative income

selection as a finalist in the 44th Muswellbrook

streams for Aboriginal communities. The Studios

Art Prize, the inaugural Hadley Art Prize, and the

are home to a remarkable diversity of people,

TARNANTHI Festival at the Art Gallery of South

with with Kariyarra, Martu, Banyjima, Nyiyaparli,

Australia. Among the emerging artist group, four

Yindjibarndi, Noongar, and Ngarla artists working

were selected for the Revealed Showcase at

regularly in the Studios.

Fremantle Art Centre and Kelvin Allen held his first solo exhibition at the Port Hedland Courthouse

2017 has been an exceptional year for the

Gallery. This year has also seen the first

Studios, and the most exciting yet in its transition

acquisitions by institutions and major collectors:

from a community painting group into a dynamic

Nyaparu (William) Gardiner was acquired by the Art

emerging art centre. With a more balanced

Gallery of Western Australia, Curtin University and

gender ratio among its core artist membership

Flinders University collections, while Layne Dhu-

and more people under thirty accessing the

Dickie’s Captain Hedland was acquired by the Janet

studios, SHA have achieved record attendance

Holmes à Court collection. Finally, four artists won

in 2017. The relationships between committed

eight art prizes throughout the year.

existing artists and stable management is starting to have powerful outcomes that

While not the sole priority of the art centre, the

extend throughout the art centre and into the

artist group have been able to steadily improve

community. Artists who identify as members of

on artwork sales in a flooded national market. The

SHA take pride in exhibiting their work, travelling

crucial point to emphasise here is that every artist

to cities, and earning income while sharing their

has been able to improve the quality of their work

cultural knowledge. Increased local and national

with better financial outcomes.

exposure has resulted in an esteem amongst the artist group and turned the studios into an

Looking towards 2020, artists and management

organic and exciting environment. The wider

have developed a strategic plan with key focus

community have also embraced the studios as

areas on engaging younger artists, diversifying

an important cultural asset, using the regular

mediums from abstract acrylic painting, improving

Saturday Open Days as a chance for intercultural

collaboration with other art centres, and working

exchange and appreciation for the town’s vibrant

to achieve a better balance between artwork

and diverse Aboriginal cultures.

production and artwork sales. Experienced art centre facilitator Inge Cooper spent twelve days and refine bodies of work for future exhibition.

What follows are some of the highlights for the

115

Studios throughout 2017.

2017 ANNUAL REPORT

across three visits to encourage artists to develop

P U J I M A N + The Pujiman project unites two Pilbara Aboriginal Art Centres, Martumili Artists and the Spinifex Hill Artists, and celebrates the sharing of knowledge between senior pujiman artists and younger practitioners.

Pujiman, which means bush or desert-born and dwelling, will result in an exhibition at the Port Hedland Courthouse Gallery in 2018 before touring Western Australia in 2018/19, and will include work from more than twenty artists from both art centres in the mediums of animation, filmmaking, photography, drawing, and acrylic painting.

Artist and cultural advisor for Martumili Artists Nola Ngalangka Taylor highlighted the significance of creating opportunities to bring older and younger generations together: ‘Pujiman days are almost EX HIB ITION

gone, but to keep it up you need to be sharing.

There’s so much lost, but we need to keep sharing to keep it alive,’ Ms Taylor said.

Curated by the artists with the assistance of Amy Mukherjee, Gallery Coordinator at Martumili Artists, and Greg Taylor, Studio Manager at Spinifex Hill Studios, Pujiman has solidified the collaborative relationship between the two Pilbara Aboriginal art centres, and informs an ongoing partnership focused on the shared vision of the organisations, and the united community of artists. ‘This has been a stellar project for both art centres and every day we are privileged to work with the communities to keep cultures strong,’ said Taylor and Mukherjee in a joint statement. ‘The relationship between our art centres is one of healthy cooperation and our ongoing partnership has been solidified by this project.

The artists bring us together and feel empowered to move freely between our art centres with the confidence that we have a shared vision and support their practices. We’re committed to working together a powerful cultural and artistic region.’

116

2017 ANNUAL REPORT

to continue building the reputation of the Pilbara as

Pujiman is part of a larger project that aims to engage and empower young people in Newman, Port Hedland, and eastern Pilbara communities through art making and learning from senior artists and community members to develop their artistic practice. The project has thus far delivered creative development workshops in portraiture and sand (stop-motion) animation. The project also entailed a significant, week long artist camp at Punmu community, situated in the heart of Martu Country, on the edge of the Great Sandy and Gibson deserts in 2017.

Pujiman is an example of FORM’s sustained engagement with Aboriginal Art Centres across Western Australia, in an effort to maintain their presence across the State as an integral component of Western Australia culture.

Top: Mulyatingki Marney makes the first marks on Wilarra, her collaborative painting with sister May Wokka Chapman, Punmu. Photograph by Greg Taylor, 2017.

Bottom: Artists share stories on the Wilarra site, Punmu.

Photograph by Carly Day, 2017.

Untitled, Doreen Chapman. Photograph by Bewley Shaylor, 2017.

Drifter, Nyapuru (William) Gardiner. Photograph by Bewley Shaylor, 2017.

120

2017 ANNUAL REPORT

EX HIB ITION

N Y A P A R U ( W I L L I A M ) G A R D I N E R +

‘After the [1946 Pilbara] Strike we was working

‘I was only a young man then,’ says Gardiner. ‘All

there in Strelley and Moolyella. We was camping

these people are passed away now.’

in the creek and we was trying to get a mineral out of the hills. We didn’t have a white colour body

Sometimes described by Gardiner as ‘drifters’,

and we couldn’t go everywhere we wanted. We got

his subjects are typically cattle men or mineral

chained up, around the neck sometimes. We didn’t

men who appear to be in between one thing

get a money for work. These are the sorts of things

and the next. The men, often alone and outside

[reasons] why we started the business of the strike.’

in a big landscape, sometimes come to us with

Nyaparu (William) Gardiner.

specific names, but they more often preserve their anonymity. What is more consistent is their

As an eyewitness to the 1946 Aboriginal pastoral

tuckered-out, worried expressions and teetering

station strike in the Pilbara, one of the earliest

postures that imbue his work with a vertiginous

unionised fights for Aboriginal self-determination

air. While the strikers and their families were

in the nation, the paintings of Nyaparu (William)

empowered through their movement for equality,

Gardiner offer an important insight into a largely

the reality of the hard yakka that came with their

unwritten event of Australian history.

relative freedoms is laid bare in these portraits.

‘We were a hard people out there,’ Gardiner says.

Born in 1943 in the Brockman River, outside

‘We got made hard by our lives’.

of Marble Bar in the Pilbara region of Western Australia, Gardiner is a Nyangumarta and Warman

It would be misleading, however, to solely situate

man. Since his childhood among the mining sites

Gardiner’s work within the social and political

of the strikers, Gardiner has worked as a jackaroo

framework of the strike and the aftermath.

and station hand on Pilbara and Kimberley

Gardiner’s contributions to TARNANTHI were

pastoral stations, as a linguist, storyteller, and

personal, intimate portraits of faces and places

more recently as an artist at the Spinifex Hill

teased out from his deep memory. As a member

Studios in South Hedland.

of the last desert-born generation in the nation, Gardiner has experienced phenomenal changes

For many years Gardiner was a pure landscape

within his lifetime. These portraits offered viewers

artist in the European tradition, drawing with

an unlikely insight into a largely underwritten and

remarkable accuracy places from the Pilbara

overlooked history and are a precious legacy for

and the Kimberley from memory alone. Only in

the nation.

the past three years has Gardiner embarked on a more focused figurative practice. It is the stories

Greg Taylor, Spinifex Hill Studios Manager.

and fashions of these figures that tether his work

2017 ANNUAL REPORT

121

to the late 1940s and 1950s.

EX HIB ITION

G L O R I A + Born in Jigalong in 1975, Gloria is a Martu woman working out of Spinifex Hill Studios in South Hedland. Gloria is an acrylic painter within a powerful matriarchal tradition that emerged in the Western Desert in the early 2000s, and throughout 2017 she began to receive the critical success that her gestural, abstract canvases deserve.

Her loose brushwork and pastel palettes have attracted critical attention for their highly affecting presence, earning her the Aboriginal and Torres Strait Islander prize at the ‘As We Are’ Awards, ‘Best Artwork by an Indigenous Artist’ at the 2017 Hedland Art Awards, and inclusion in Conversations at Suzanne O’Connell Gallery in Brisbane. Gloria also spent 2017 preparing for her eponymous solo exhibition to be held at The Goods Shed

2017 ANNUAL REPORT

Untitled, Gloria. Photograph by Bewley Shaylor,, 2017.

123

and her participation in Revealed in 2018.

C O M M U N I T Y E N G A G E M E N T + Throughout the year, the Spinifex Hill Studios engaged in a number of community programs designed to improve access to the Studios for local people, and to give the artists unique opportunities to share their stories and artistic practice. For WA Day, the Studios held a community barbecue, alongside workshops in weaving facilitated by Fiona Gavino, textiles and painting with Elle Campbell, and wood whittling with artist and designer Andrew Christie. In addition to this, the Spinifex Hill Artists held four market stalls at local community events, including the West End Markets and the Cossack Art Market. Rounding out this program are the regular studio Open Days on Saturdays where the community can explore the works being produced at the Spinifex Hill Artists as a group, as well as providing a means to demonstrate the way the Studios are connected to the surrounding community through important networks.

124

2017 ANNUAL REPORT

Studios. Such events help to strengthen the identity of the

2017 ANNUAL REPORT

125

Visitors chat with Spinifex Hill Artist Winnie Sampi. Photograph by Bewley Shaylor, 2017.

RESIDENC IES

R E S I D E N C I E S _

Pilar Mta Dupont filming on her Pilbara residency. Photograph by Mollie Hewitt, 2017.

I was able to see and experience a large amount of the Pilbara in a very short amount of time, and was able to garner enough information and knowledge to put towards researching for a new work...I have to thank FORM’s curator, with her knowledge of the area, for the itinerary.

Pilar Mata Dupont.

G I A N M A N I K +

A particular focus of FORM’s Regional Residency Program is to re-engage artists who began their careers in Western Australia before moving interstate or overseas, by commissioning them to create their first major body of work here since relocating. At FORM’s invitation, Perthborn, Melbourne-based Gian Manik returned to Western Australia to spend three weeks in the Pilbara during April 2017, in order to develop a series of new paintings inspired by his surroundings.

During his time in the Pilbara Manik explored a new conceptual direction, painting from his RESIDENC IES

surrounding environment, and combining his observations with the foils for which he is more widely known.

A two-day collaboration with 53 students from Hedland Senior High School resulted in a 10-metre long work. Manik mentored years 6-12 in drawing and painting techniques, inviting them to work directly onto the canvas. His own impressions of the Pilbara were then overpainted to create a bold collaborative piece.

He additionally ran painting workshops for the local community. For Manik, this residency and community collaboration provided the opportunity to explore new creative ground, both conceptually, and materially.

[The residency] has aided my work in several ways; I have begun working on a much larger scale and using different painting materials and methods. I have also begun painting different subjects from the landscape. This was a direct result from the residency.

Gian Manik.

What’s your name. It’s a symbol. Dont Talk. (detail), Gian Manik. image courtey of the artist.

P I L A R M A T A D U P O N T +

Internationally recognised Perth-born

Mata Dupont’s initial fieldwork led to

artist Pilar Mata Dupont’s residencies in

a second residency to consult with

the Pilbara began in 2016, with a week-

Yindjibarndi Aboriginal Corporation,

long trip identifying Jirndawurrunha

elders, and community leaders about

Pool as a site for further research. The

the project, in order to ensure the

natural freshwater spring in Millstream

resulting work was appropriately

Chichester National Park is a sacred

respectful and inclusive. Following

site for the Yindjibarndi people, with

this, a third residency in June 2017

a nearby colonial homestead and

was undertaken with a full film crew,

the legacy of the colonial planting

Aboriginal elders and rangers, and

of invasive species in the site to

volunteers from the local community

create a bucolic desert oasis. Though

to make the work. The resulting work

aesthetically appealing and popular with

will be a three channel film in which

tourists, these plants are unsustainable

the invasive species in the site, vines,

and cause ongoing damage to the

water lilies, and date palms, serve

environment, requiring routine removal

as the protagonists in a meandering

and management, although evading

narrative about ecological imperialism

total eradication. These invasive species

and the legacies of colonialism. The

therefore led to Jirndawurrunha Pool

final film, along with a filmed protection

being an ideal site to make work about

ceremony undertaken before the

invasion, colonisation, and imperialism.

project began, is premiering at FORM’s Perth Gallery in early 2018, as part 2018 Perth Festival’s visual arts program.

Undesirable Bodies (film still), Pilar Mata Dupont, 2018.

M A N G U R I W I L T J A +

In 2016 FORM initiated a unique cross-artform

and senior community members to collect

collaboration between artists from the remote

grass, hunt, and visit Country. Though this

Aboriginal community of Warakurna, and two highly

workshop was particularly aimed at engaging

innovative Australian arts companies, Polyglot

school children from the town, practically every

Theatre and Tjanpi Desert Weavers.

one of the (approximately) 200 Warakurna community members engaged with the

Melbourne-based Polyglot Theatre is Australia’s

development of the work during this time.

RESIDENC IES

leading creator of interactive and participatory theatre for children and families, and Tjanpi Desert

The third stage of the project, at FORM’s Goods

Weavers is a uniquely innovative social enterprise

Shed project space in November 2017, allowed

that enables women across the Central and Western

children from the west coast of Australia to

Deserts (including artists from Warakurna) to

contribute to the work, along with continued

generate income from fibre art. Though specialising

input from Warakurna school children, who

in different disciplines, each is internationally

were also visiting Perth at the time.

renowned for highly-engaging work that represents an innovative approach to the handmade. Working

For all participating artists and organisations,

with FORM, both organisations are exploring

Manguri Wiltja, meaning ‘house of circles’,

new creative ground through a commissioned

represents an opportunity to explore new

performative installation for children and families.

creative ground and recognise long-held creative ambitions. Polyglot have been fans of

In November 2016 seven Tjanpi artists and team

Tjanpi for many years and had not previously

members and two FORM curators travelled to

collaborated with Aboriginal artists. FORM and

Melbourne to initiate the collaboration with Polyglot’s

Tjanpi had not previously explored the medium

team. This first stage of the project consisted of early

of performance. For FORM in particular, the

material and conceptual exploration for two weeks,

project represents an opportunity to develop

including collaboration with local primary school

a work specifically aimed at engaging children

students.

and young people.

The second stage of the project took place in July 2017, through an intensive two-week workshop in remote Warakurna. Two FORM curators, five Polylgot visited the Ngaanyatjarra Lands to work with the Tjanpi artists and the broader Warakurna community.

The residency incorporated bush trips with the artists

130

2017 ANNUAL REPORT

performers, a photographer, and cinematographer

Mangari Wiltja project (working title) third project development workshop in Perth, November, 2017. Photograph by Bewley Shaylor, c/o Tjanpi Desert Weavers, Polyglot Theatre, and FORM.

We liked working with them. That Polyglot and FORM mob. And playing with kids.

My favourite part was building those wiltja and teaching them to build with punu [wood] and branches‌we want to keep going [on this project]‌us minyma [women] want to travel with that wiltja and go to cities and teach kids.

Cynthia Burke, Tjanpi artist.

EX HIB ITIONS TOU RING Untitled, Karim Jabbari. Photograph by Bewley Shaylor and Chad Peacock, 2016.

T O U R I N G E X H I B I T I O N S _

B E D A Z Z L E + IN KALGOORLIE

Bedazzle – Photographing Western Australia’s Gold Towns, curated by FORM in 2016, presented newly-commissioned work

by Western Australian artists Thea Costantino, Rebecca Dagnall, and Tarryn Gill, developed through a series of residencies in the Pilbara and Goldfields-Esperance regions during 2015 and 2016. The exhibition took the State’s gold rush past as its point of departure for a compelling and darkly humorous exploration of the Western Australian regional gothic. It initially premiered at FORM Gallery Perth in mid-2016, and toured to the Port Hedland EX HIB ITIONS

Courthouse Gallery in October, 2016.

In March 2017, Bedazzle toured to the Goldfields Arts Centre (GAC), Kalgoorlie-Boulder, opening as the launch exhibition for GAC’s new North Wing Gallery exhibition space. As in Perth, the exhibition in Kalgoorlie-Boulder was accompanied by an

TOU RING

extensive public program, including artists’ talks by exhibitors Rebecca Dagnall and Tarryn Gill. Guest artist, photographer David Charles Collins, also travelled to Kalgoorlie-Boulder to document the exhibition launch and deliver a series of photographic workshops in conjunction with the opening. The Kalgoorlie-Boulder Bedazzle exhibition additionally allowed an opportunity for the participating and guest artists to develop new photographic works in the region, for future exhibition.

Top: Revenge Joey, Rebecca Dagnall. Image courtesy of the artist, 2016.

Bottom right: Opening night of Bedazzle at the Goldfields Art Centre. Photograph by David Charles Collins, 2017.

134

2017 ANNUAL REPORT

Bottom left: Città Fantasma 3, Thea Costantino. Image courtesy of the artist, 2016.

T H E C O R E + EX HIB ITIONS

The Goods Shed’s inaugural exhibition back

TOU RING

I N K ATA N N I N G

the Great Southern, the exhibition returned

in 2016, The Core, was also an Australian debut for Karim Jabbari, an acclaimed calligrapher and mural artist from Tunisia.

Developed through Jabbari’s residency in there in 2017 as part of PUBLIC in Katanning.

Jabbari is celebrated for his distinctive work, a combination of shapes, colours, and ancient Kufi script sculpted from light and captured in time-lapse photographic stills or video.

Jabbari collaborated with Western Australian creatives Bewley Shaylor (photographer), Chad Peacock (filmmaker), and FORM staff to create unique and ephemeral light calligraphy artworks at iconic Great Southern locations.

The FORM team and Jabbari gave two student workshops as part of PUBLIC in Katanning.

The workshops were held at the Katanning Public Art Gallery and were focused on teaching the students to how to create their own series of light painting artworks.

The Way to Antarctica, Karim Jabbari, Photograph

by Bewley Shaylor and Chad Peacock, 2016.

P H V C

O R T E D L A N D I S I T O R E N T R E _

FORM’s involvement with the Port Hedland Visitor Centre began in December 2012 when we were

In March 2017, representatives from the Port Hedland

awarded the management contract by the Town of

Visitor Centre were present at the Caravan & Camping

Port Hedland. The refurbished Visitor Centre was

show at the Royal Showgrounds promoting Port

opened in April 2013 and has since become an

Hedland and the region’s attractions. The Port Hedland

accredited Tourism Centre and a member of the

booth was a great success, with an estimate of 450

Visitor Centre Association of WA.

people a day stopping by and over 800 copies of the Pilbara Pathfinder circulated.

PHVC

The Visitor Centre makes a personal connection with its visitors, offering them a wealth of information to

Throughout the year, the Visitor Centre also serviced a

suit a variety of traveller needs. In 2017 we assisted

number of cruise ships, offering a welcome market and

over 25,000 visitors who gathered information,

cultural activities such as gallery tours, museum tours,

collected brochures, participated in tours, and

live painting sessions with local Aboriginal artists,

purchased souvenirs and keepsakes from their

and a managed local experience. These experiences

trip to Port Hedland. Visitation for 2017 showed an

have developed the visits from the cruise ship into an

increase from the previous year, in part due to the

important element of the tourism calendar.

Port Hedland Visitor Centre’s increased presence on social media, and collaboration with local

The Port Hedland Visitor Centre continues to engage

community organisations. Throughout 2017 the

with other Pilbara-based Visitor Centres as part of

Visitor Centre also promoted a new edition of the

our ongoing advocacy efforts to build the Pilbara as a

Pilbara Pathfinder, a full colour booklet produced by

cultural and industrial tourism destination. In addition,

FORM for travellers wishing to explore the cultural

the Port Hedland Visitor Centre is looking at new tour

and natural assets of the region.

formats for the 2018 season, due to strong demand for an expanded tourism offering around Port Hedland’s

One of the main ways the Port Hedland Visitor

history and culture.

Centre offers travellers a holistic experience of Port Hedland is through making tailored tours available to travellers. Its ‘BHP Billiton Iron Ore Tour’ was well attended, with 1,690 visitors attending 51 tours and discovering more about the iron ore industry in Port Hedland. The ‘Historical Town Tour’ saw 402 visitors take 27 tours to learn more about Port Hedland’s rich history. In addition, ‘Tales of Hedland’, where a local

“Best range of Indigenous products we've seen anywhere.”

shares their knowledge of the town with visitors, was held 19 times between May and September with a total of 309 visitors during the year.

Pilbara. Image courtesy of the Town of Port Hedland, 2017.

Visitor comment, Port Hedland Visitor Centre.

O RG A NISATION

O R G A N I S A T I O N _

M E M B E R S H I P +

FORM offers four types of memberships:

Offers and incentives provided for 2017 FORM

concession, individual, practitioner, and corporate.

members include:

In 2017 two year memberships were offered for individuals, concessions, and corporates with a 10% discount. The online system for membership

•

Wafia and Sam Price, David Charles Collins,

was also streamlined for all categories, particularly

Gian Manik, and Berndnaut Smilde;

for practitioners, making the process quicker and easier for new and renewing members.

•

Learning Environments Australasia’s Post

members of FORM is that they wish to support

Boom Workshop, as well as a series of

O RG A NISATION

and be an advocate for arts and creativity in

workshops throughout the year with Debra

Western Australia. Member benefits include

Hayes Floral;

access to FORM’s publications and research •

and Courthouse Gallery; exclusive access to view

•

Exhibition member previews that offered exclusive access to view and purchase works

and purchase works before the general public; a

before the general public. These events

monthly member e-news where members learn

were also catered throughout the year at

about what’s happening at FORM across WA first;

FORM Gallery, The Goods Shed, and The Port

as well as discounts and priority on workshops,

Hedland Courthouse Gallery;

ticketed events, and our retail spaces in Port Hedland. A key component to our offering is also

Priority places for workshops, masterclasses, and talks;

publications; invitations to FORM’s exhibitions and events at The Goods Shed, FORM Gallery,

Discounted ticket prices to FORM’s Speaker Series with Tim Jones and Jason Roberts,

The key motivation for people to become

documents; a complimentary copy of one of our

Invitations to artist talks by artists Ta-ku,

•

practitioner memberships. FORM offers highly

Printed invitations to events and exhibition openings;

competitive rates for public and product liability insurance for artists, makers, and curators.

FORM values its members and feedback is

•

Discounted and complementary publications;

•

Discounts on Creative Business Development Sessions at the Port Hedland Courthouse

important for us in order to ensure we continue to

Gallery; and,

develop and deliver highly ambitious artistic and •

A 15% discount for retail spaces at The

had members-only events in Port Hedland, Perth,

Courthouse Gallery and Port Hedland Visitors

and Claremont, providing exclusive opportunities

Centre.

for our supporters to participate in our programs.

142

2017 ANNUAL REPORT

public programs into the future. This year we have

FORM membership currently stands at approximately 620 members. This comprises of 29% individual members, 29% practitioner members, 6% corporate members, and 36% concession members. Perth members make up 66% of the total, with regional members BUILDED REMNANTS opening. Photograph by Bewley Shaylor, 2017.

2017 ANNUAL REPORT

interstate and international.

143

making up 29%, and the remaining 5%

M E D I A A N D C O M M U N I C A T I O N S + FORM’s communication strategy works to win support

For those of us living in Perth, it can be easy to

and commitment to our vision and to develop strong

take our State’s regional beauty for granted.

relationships with new and existing stakeholders,

It’s this complacency that is pierced by FORM’s

including local, national, and international media;

latest project, Visitants: Close encounters with

patrons; the general public; FORM members; the arts

Remote Western Australia, which saw three

industry (both Western Australian and national); and

artists commissioned to capture the distinct

local, State, and Federal government. We work to foster

beauty and phenomena of the Pilbara region.

a spirit of advocacy for our projects and associated

The result is a breathtaking series of works,

public programs, and to build a momentum for our

each of which mimics the awe-inspiring wonder

work that sees it reach the largest and most diverse

of the natural subjects encountered.

audience as possible.

‘Close encounters of the remote kind.’ Belinda Hermawan, SeeSaw Magazine.

O RG A NISATION

While many media key messages flow directly from our programs, overall key messaging is determined by

Place enhancement has certainly been achieved

FORM’s vision and strategic planning, and fall into two

by locating sculptures big and small around

main areas: vision and brand focused messaging, and

the $195 million stadium and the 2.6ha of

program and event focused messaging. Underpinning

Chevron Parkland that surrounds it. But the

the key messages are three dominant communications

content of the art also has been carefully

objectives: generating patron awareness in order to

themed. Westadium Consortium, made up of

maximise engagement with FORM programs, building

construction company Multiplex and architects

FORM’s reputation as a key cultural organisation in

Hassell, handed that job to not-for-profit

Western Australia, and profiling FORM’s work and that

arts agency FORM, which has considerable

of our artists nationally and internationally.

experience in public art projects. Given that the stadium sits on wetlands with rich Aboriginal

FORM uses a variety of media channels to

Nyungar history, FORM brought in cultural and

communicate our activities. These include traditional

sporting historians and paired them with experts

media releases, traditional marketing, EDMs, social

in the fields of environmental science, Nyungar

media (our own platforms and through reaching out to

artwork and oral histories. It was decided

our influencers), invitations, printed collateral, speeches

that Aboriginal culture should inform many

and other presentations, and general events listings.

aspects of the art installations, from art trails to

Wherever possible, curators and project managers

interpretative story boards, a community arbour

ensure our projects are documented and then work

and digital storytelling on screens.

in conjunction with the communications team to ensure appropriate photography, audio, and video content are planned for and provided. At all times team members remain committed to FORM’s core values of of messaging remains consistent with our core mission.

144

2017 ANNUAL REPORT

excellence, inclusion, and diversity, to ensure the flow

‘Perth Stadium packed with public art.’ Victoria Laurie, The Australian.

Dutch artists Berndnaut Smilde has created works for

Austrian designers Katharina Mischer and Thomas

his nimbus cloud series in many places over the past

Traxler are the creative pair behind mischer‘traxler

seven years. From a hammam in Turkey to the Grand

studio who are currently in Australia to exhibit

Palais in Paris to a historic residence in San Francisco.

their work and take up a residency at The Goods

It’s hard to imagine anywhere more stunning though,

Shed by FORM. Driven by conceptual thinking

than Western Australia’s Pilbara, where Smilde created

and experimentation, their playful yet poetic

new works as part of a residency with Perth’s not for

projects provoke audience interaction and evoke

profit cultural organisation FORM.

unexpected reactions.

Australian Financial Review Magazine.

‘mischer‘traxler Studio’s First Australian Exhibition.’

Rebecca Gross, Indesign Live.

Public art is a connection of cultures. FORM’s annual street art project across Western Australia’s regional

A riot of abstract and representational images,

heartland, the Public Silo Trail, encourages the telling

as well as graffiti that explodes off the canvas a

of story through murals, and is inspired by the outback

melange in which Manik’s work is less in tension

and agricultural settings. The trail is an open air gallery

with the students as locked in a passionate,

of high profile murals, a catalogue of the lives of

respectful debate.

regional Australians ‘How public art is adapting to our changing world.’ Andrea Simpson, Arts Hub.

‘Two styles better than one.’ Will Yeoman, The West Australian

Independent Western Australian cultural Earth Matters is one of those magical exhibitions the

organisation FORM has been endeavouring to

small scale of which belies its transformative power. It

lean into the practice―rather than the theory― of

is not to be missed.

curating space into place. The organisation

‘Art with a sprinkle of magic.’ Will Yeoman, The West Australian.

focuses on the benefits that creativity and design can bring to every aspect of life, be it individual artistic excellence, creative learning, or community

[Berndnaut Smilde’s] latest residency in Western Australia commissioned by FORM allowed the artist to create his first Nimbus piece outside, where he reacted

wellbeing.

‘Whose place is it anyway? Curators, Not Dictators.’

Mags Webster, In Place Magazine.

to the ancient landscape of the Pilbara region.

2017 ANNUAL REPORT

145

‘An artist creates miniature clouds in spaces around the world.’ James Gabriel Martin, Lonely Planet.

146

2017 ANNUAL REPORT

O RG A NISATION

MEDIA ACHIEVED Lonely Planet

Monster Children

Triple M Radio

Street Art News

Art Talk WA

Fabric Quarterly

Colossal

RSL WA

The Starfish

No Cure Magazine

The West Australian

Biophiliarts

In Place Magazine

The Post

WA Today

Australian Financial Review

Business News

World Grain

Art Almanac

Perth Community

Element Australia

The Sydney Morning Herald

Xpress

The Phoenix

Landscape Australia

We Love Perth

The Grey Nomads

Arts Hub

SeeSaw

Great Southern Herald

The Australian

The Albany Advertiser

Horizons Magazine

Daily Review

The Great Southern Weekender

Seven West Travel Club

ABC News

North West Telegraph

Escape

Perth Now

Margaret River Mail

Tourism Western Australia

News Now

Western Suburbs Reporter

Art News Portal

The Urban List

ABC Great Southern Radio

116 EDMS & Media Releases Distributed

Twitter 12.5K

Instagram 16.5K

Facebook 3.1K

FORM’s website has 3.1K active monthly online users

Database of 6K

1K Instagram Posts

Highest achieving Facebook post 46.2K

E V A L U A T I O N + All of FORM’s programs and engagement strategies are supported by ongoing evaluation to ensure that our approach is effective and responsive. We develop custom evaluation frameworks for all projects of significance to grow the understanding and body of knowledge around key areas of importance for the creative sector and our delivery.

FORM continues to employ the CultureCounts evaluation framework that was developed by the Department of Culture and the Arts. While the CultureCounts evaluation dimensions continue to be at the centre of all of FORM’s surveying, we have added further measurements in order to understand better the ways our venues and programming contribute to community vibrancy.

Additionally, in 2017, we formalised comprehensive surveying for artists and experts in residence, to capture and measure the influence and legacy FORM’s residency opportunities have triggered. This is off the back of anecdotal feedback and observations about the significant effect that regional residency placements have had on artists’ practices and work.

This rigorous yet adaptive approach ensures we are able to demonstrate not only the impact of our programming on the Western Australian community and its artists, but also the planning and adjustment of those programs and their

2017 ANNUAL REPORT

147

delivery based on that impact.

148

2017 ANNUAL REPORT

Milyanah Pool, Millstream Chichester National Park. Photograph By Bewley Shaylor, 2017.

2017 ANNUAL REPORT

149

B O A R D M E M B E R S R E P O R T _ FOR THE YEAR ENDING 31 DECEMBER 2017

The Board Members present their report on

The names of the Board members in office

the incorporated association for the financial

at the date of this report are as follows:

year ended 31 December 2017.

BOARD MEMBER

EXPERTISE

Paul Chamberlain

Philanthropy, investment

Philanthropist, investor

Lynda Dorrington

O RG A NISATION

Chair

(Appointed to the Board 2013, appointed as Chair 2014)

Executive Director FORM

Business, visioning & marketing

Ex-Officio

Rebecca Eggleston

Cultural programming, urban strategy & community development

Secretary

General Manager FORM

(Appointed 2000)

(Appointed 2014)

Tania Hudson Director Words Communications Consultancy Director Global Engagement Minderoo Group

Adam Zorzi Director Australian Development Capital

Peter Lee Director HASSELL

Communications & Social Impact, Partnerships

COO Australian Petroleum Production & Exploration Association (APPEA), Western Region

Architecture, design & place activation

Board Member

Management, strategy

Media & Communications

Natalie Dawson Director & Executive Consultant Focus Executive Management Consultants

(Appointed 2011, resigned from Chair April 2014)

Board Member

Charlotte Hamlyn Reporter & Journalist ABC News ABC 7:30 Report WA

Board Member

Property Investment & Development

Stedman Ellis

Accounting & Finance

(Appointed 2009)

(Appointed 2011)

Board Member (Appointed 2013

Board Member (Appointed 2016)

Treasurer

(appointed 2016)

Stuart Smith Chief Executive Officer National Offshore Petroleum Safety and Environmental Management Authority (NOPSEMA)

150

2017 ANNUAL REPORT

OFFICE

Strategic planning, government relations

Board Member (Appointed 2016)

Principal Activities

Proceedings on Behalf of the Association No person has applied for leave of Court to bring

The principal activities of the entity during the

proceedings to which the association is a party for

financial year were:

the purpose of taking responsibility on behalf of the

•

Perth Creative Engagement

association for all or any part of those proceedings.

•

Regional Artistic Capacity

The association was not a party to any such

•

Aboriginal Design & Artistic Development

proceedings during the year.

Operating Results The surplus for the year amounted to $99,057.00

Indemnifying Board Members FORM’s Association Liability insurance included

Environmental Issues

coverage of the Board Members during the 2017

The association’s operations are not regulated

financial year. No indemnities have been given during

by any particular or significant environmental

or since the end of the financial year for any person

regulation under the Commonwealth, State, or

who is or has been a Board member or auditor of the

Territory.

association.

Significant Changes to State of Affairs

Significant Events after the Balance Date

In the opinion of the Board members there were

No matters or circumstance have arisen since the

no significant changes in the state of affairs of the

balance date which significantly affected or may affect

entity that occurred during the financial year under

the operations of the association, the results of those

review not otherwise disclosed in this report or the

operations, or the state of affairs of the association in

financial statements.

the financial years subsequent to the year ended 31 December 2017.

Adoption of Australia Equivalents to IFRS The association’s financial report has been

Likely Developments and Expected Results

prepared in accordance with Australian Equivalents

The continuing success of FORM in building creative

to International Financial Reporting Standards

capacity within regional and urban Western Australia is

(IFRS).

dependent upon grant income from the Department of Local Government, Sport and Cultural Industries

Board Member Benefits

as this core funding provides a stable foundation to

No Board member has received or become

employ staff on an ongoing basis. The Board members

entitled to receive, during or since incorporation,

do not foresee any major changes in the direction of

a benefit because of a contact made by the

the association which will significantly impact on the

association or a related body corporate with the

entity not otherwise dealt with in this report.

Board member, a form of which the Board member is a member or a company in which the Board

Annual Financial Statements

member has a substantial financial interest.

The 2017 Annual Financial Statements are contained in

2017 ANNUAL REPORT

151

a separate document and are available upon request.

T H A N K Y O U +

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 2017.

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.

Principal Partner FORM and BHP in partnership, proudly making a contribution to the Pilbara’s cultural life for over a decade.

Legal Partner

Major Partner

Goods Shed Transformation Partner

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

Programming Partners

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

FORM is assisted by the Australian Government through the Ministry for the Arts’ Catalyst - Australian Arts and Culture Fund.

FORM’s Regional Programming is assisted by funding from the Royalties for Regions, Regional Grants Scheme.

Regional Programming Partners

Supported by Royalties for Regions

152

2017 ANNUAL REPORT

FORM is supported by the State Government through the Department of Local Government, Sport and Cultural Industries.

Specific Programs - Major Partners

Supporting Partners

Gallery and Presenting Partners

ABN Group

Amelia Park Wines

Alinta Energy

Australian Development Capital

Art Law Centre of Australia

Clairault Streicker Wines

Hassell

Feral Brewing

Horizon Power

GCS

IBN Corporation

Goldfields Esperance Development Commission

Pilbara Ports Authority

Little Creatures Brewing Megavision Sound/Lighting North West Telegraph Scott Print Spirit Radio

2017 ANNUAL REPORT

153

Vancouver Arts Centre

154

2017 ANNUAL REPORT

Kyle Hughes-Odgers standing with his Merredin mural. Photograph by Jean-Paul HorrĂŠ, 2017.

2017 ANNUAL REPORT

155

www.form.net.au