2018 Annual Report

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ANNUAL REPORT

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B U I L D I N G A S TAT E O F C R E AT I V I T Y.

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39 Gugeri Street Claremont, Western Australia, 6010 E: mail@form.net.au T: +61 8 9385 2200 Designed and published by FORM. Our websites: www.form.net.au www.thegoodsshedclaremont.com www.spinifexhillstudio.com.au www.courthousegallery.com.au www.visitporthedland.com www.publicsilotrail.com www.scribblersfestival.com.au www.fieldoflightalbany.com.au Š2018 - 2019. 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.

Untitled, Gloria. Photograph courtesy of Spinifex Hill Studios, 2018.

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ANNUAL REPORT

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Introduction

Executive Overview FORM Overview FORM’s Reach Creatives Engaged

11-20

The Year at a Glance

The Year at a Glance

21-46

Major Projects

Field of Light: Avenue of Honour

Pilbara Creative and Cultural Forum PUBLIC Silo Trail Manguri Wiltja

47-64

Creative Learning

Creative Learning

Creative Schools Scribblers Festival

65-74

75-104

Art Consultancy

Art Consultancy

Venues and Exhibitions

The Goods Shed

Gloria Pujiman

Catching the Light

FORM Gallery Rise Port Hedland Visitior Centre Port Hedland Courthouse Gallery Hedland Art Awards Spinifex Hill Studio Port Hedland West End Market

105-112

Residencies

Residencies

113-120

Organisation

Membership

Media and Communications Media Achieved Board Member Report

Thank you AR - 2018

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Executive Overview Business, creativity and society are interdependent; and in a state like Western Australia, where the challenges and opportunities of balancing industry and community in ever more creative ways are key concerns, this reality is made explicit every day. This reality, moreover, has important impacts on how government and the corporate sector engage in partnerships with the non-profit sector. Why?

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Because these partnerships―which work best when they are innovative, seek to build legacy, and are founded on the type of genuine trust that allows each party to play to their strengths―often hold the key to measurable improvements in social, cultural and environmental wellbeing of our State’s cities, regions and communities.

And through those improvements, also the productivity of our workforce, the learning abilities of our children, the liveability and economic health of our towns, and not least, the (potentially) world-beating accomplishments of our artists and creative professionals.

There are other good reasons why. The first two decades of the twenty-first century have witnessed profound changes in how physical, ethical and emotional space is negotiated in the areas of interdependency between business and society. These changes have required traditional modes of corporate social responsibility cede to better and more nuanced models of engagement, models which recognise the myriad complexities involved in striking a balance between the tensions as well as the advantages that inevitably exist in the relationship between community-dependent businesses and the communities themselves. More than ever, a partnership approach is crucial. All around the world, a robust present and a sustainable future for both community and business depend on building an ethos of social, economic, environmental value that is mutually created and equitably shared.

FORM aims to ascribe to this ethos, through its State-wide activities and partnerships.

Take FORM’s partnership with BHP, which underpins so much of FORM’s programming in the Pilbara. Yet BHP’s investment in the Pilbara could not flourish let alone survive if business was simply a case of going through the motions for the sake of a trade-off. It goes without saying that the responsible operations of any company must be underpinned by a keen appreciation of moral obligation, sustainability, of deserving an ongoing licence to operate, and reputational benefit. In a place like the Pilbara, where millennia-old cultural and social practices are as important a priority and source of collective wellbeing, knowledge and economic empowerment as the experiences and capacities of the Pilbara’s non-Indigenous people, the principle of shared value depends on these values being addressed at the core of BHP’s partnerships and operations.

As the learnings from BHP’s 14 year-long partnership with FORM should clearly indicate, these concerns are not peripheral but central. The partnership’s achievements can be measured by its ability to create shared value and social benefit, as well as competitive advantage.

Competitive advantage not only in the economic bottom line, but also through the reputational benefit it can bring to Western Australia. For these partnerships support Western Australia in other ways; by enabling the State to tell its stories, ancient and contemporary, to the rest of the world, through the fastest growing sector of the global travel market: cultural tourism.

Cultural tourism, which according to UNESCO, accounts for 40% of world tourism revenues, was defined at the UNWTO General Assembly in Chengdu, China in September 2017 as: “a type of tourism activity in which the visitor’s essential motivation is to learn, discover, experience and consume the tangible and intangible cultural attractions/products in a tourism destination.

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Pujiman Opening, The Goods Shed.

Photograph by Taryn Hays, 2018.

Western Australia and Western Australians abound in these “distinctive material, intellectual, spiritual and emotional features.” The question is not whether, but how to bring all these elements together in a way that will establish lasting opportunity, employment, and stability and livelihoods.

According to UNTWO, the “non-monetized benefits” of culture-led development can be significant. They include: “… greater social inclusiveness and rootedness, resilience, innovation, creativity and entrepreneurship for individuals and communities, and the use of local resources, skills, and knowledge” (2018, 4).

Not only that, but “respecting and supporting cultural expressions contributes to strengthening the social capital of a community and fosters trust in public institutions. Cultural factors also influence lifestyles,

individual behaviour, consumption patterns, values related to environmental stewardship, and our interaction with the natural environment. Local and indigenous knowledge systems and environmental management practices provide valuable insight and tools for tackling ecological challenges, preventing biodiversity loss, reducing land degradation, and mitigating the effects of climate change” (2018, 4). Not bad for something that is generated from what all responsible businesses should have at the core of their operations: an empathy and respect for the attributes― human, environmental, cultural and social―of the places in which they do business; the places in which they create shared value.

Take, for example, FORM’s activities in Albany, over a project that has taken several years of careful negotiation, fundraising, planning, and relationships with community and artistic team: and where, during the final months of 2018 and early months of 2019, over 140,000 people, many from interstate or overseas, have experienced a landmark artwork, Field of Light: Avenue of Honour.

Commissioned by FORM from international artist Bruce Munro, this emotionally-charged open-air light installation commemorates the World War One Anzac legacy in the

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These attractions/products relate to a set of distinctive material, intellectual, spiritual and emotional features of a society that encompasses arts and architecture, historical and cultural heritage, culinary heritage, literature, music, creative industries and the living cultures with their lifestyles, value systems, beliefs and traditions” (2018, 93).

AR - 2018 3 GLORIA Opening, The Goods Shed.

Photograph by Taryn Hays, 2018.

Bruce Munro, 2018.

“A N I N S TA L L AT I O N D O E S N ’ T S TA R T W H E N Y O U P U T I T I N . I T ’ S AC T U A L LY THE PROCESSES. IT’S THE PROCESS OF G O I N G I N T O T H E S PAC E , T H E P R O C E S S OF MEETING PEOPLE. IT’S SO MANY P E O P L E ’ S T H O U G H T S A N D I D E A S .”

classroom ways for children to learn core subjects.

The pilot, endorsed by the Department of Education, will extend to 16 schools in 2019. Underpinned by the Creative Learning Program’s five creative habits of mind: inquisitiveness, persistence, imagination, self-discipline, and the willingness and ability to collaborate, Scribblers Festival was launched in May 2018. The new, five-day festival is a celebation of literature and arts for young people.

Exhibitions, professional development, public art commissions and procurement, creative project spaces in which to explore art, ideas, difference and opportunity; places where people come together to discover their creative potential and be exposed to artistic excellence.

We continue to believe that our programs can be a catalyst for positive change, and are vital for Western Australia.

The synergies between a small non-profit cultural organisation and a multi-national industry and a government department may not be obvious on the surface, and certainly not in the huge differentials between operating policy; and that is as it should be. If a partnership is just about surface and optics, it serves and honours no-one, least of all the partners themselves. A partnership like that can neither stand for, nor create, shared value. A partnership like that is lucky to survive a year, let alone well over a decade (as the partnership between FORM and BHP has done).

All of them embody FORM’s ethos of supporting and nurturing the development of artists and the creative sector. We deploy and empower creative professionals in environments so that people of all ages can collaborate, learn, experience, participate and discover the impact of creativity and culture on their quality of life, on their quality of community, and quality of livelihoods. These projects strive for artistic excellence, for sustained and meaningful engagement and international exchange in artistic practices and livelihoods, and for a means of articulating our State’s complexities and identities through the talent and imagination of creative Western Australians.

Other 2018 achievements for FORM include the final links in a chain of giant artworks on silos across the rural south of Western Australia, creating a self-drive tour through the continent’s largest ‘open-air gallery’ on agricultural architecture. In five Western Australian schools―and a first for Australia―a pilot program called Creative Schools, part of FORM’s Creative Learning program, centring on supporting artist-teacher partnerships to devise creative, non-traditional-in-

With regard to FORM’s activities in 2018, as we have been for many years now, we are very grateful to loyal partners, and to donors for continuing to believe in and support our work; and we are grateful to the people and communities of Western Australia, especially the Pilbara, Wheatbelt, Goldfields, Great Southern and Perth for their ongoing welcome, trust and collaborative spirit.

Sources: Porter, M. E & M.R Kramer. 2011. ‘Creating Shared Value’.

Harvard Business Review. Jan–Feb. 62–76 Porter, M. E & M.R Kramer. 2006. ‘Strategy & Society: the link between competitive advantage and corporate social responsibility’. Harvard Business Review. December. 78–92

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southern port city: the last glimpse of Australia for a huge proportion of servicemen and women who never made it back to the southern hemisphere, let alone home. At the time of writing, the installation (due to end after Anzac Day 2019) continues to perform beyond many people’s original expectations in encouraging increased visitation to Albany, increased tourist spend, a boost to local business and hospitality. And it underlines the pride that Albany people take in safeguarding, sharing and honouring an important historical legacy of two nations. This project has been supported by City of Albany, Tourism WA, Lotterywest with support from Christine & Kerry Stokes AC, and the Australian Government’s Building Better Regions Fund.

However, without FORM’s partnership with BHP, along with our other partners, we would never have been in a position, as a non-profit, to have built up the track record, skills, networks and credibility to attract a worldrenowned artist, and deliver this incredible project.

Lynda Dorrington Executive Director

Culture: a driver and an enabler of sustainable development Thematic Think Piece UNESCO 2012

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Tourism & Culture Synergies UNTWO 2018

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FORM Overview

We create platforms for debate and action on culture and art and the essential role they play in enhancing everyone’s quality of life. However it is manifested, whether as a huge mural or an inspiring talk, we believe that everyone responds to creativity; it sparks further conversation, learning and connection, and often significant economic return. We know this because we’ve introduced creative people from Australia and all over the world into communities where there has been a hunger not only for self-expression but also for social bonding. We’ve seen the difference creativity can make, how people and places can flourish, how government and business can be influenced by the results it can achieve.

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FORM is an independent, non-profit cultural organisation with charitable status, which works to build ‘a state of creativity’ in Western Australia. Our activities span highlevel artistic advancement and excellence; exhibition curation and professional development; creative learning in schools and in the community; place curation, public art commissioning and strategy; cultural infrastructure development; Aboriginal cultural maintenance; promoting the regions through cultural tourism development; and research and social documentation related to our areas of operation.

From making a neighbourhood feel welcoming and distinctive, to finding our own aptitude and ambitions, creativity allows us to demand more of our relationships with our environments, our communities, ourselves and each other. That’s why, in 2018 we have continued our work across the regions from the Pilbara to the Great Southern, and in Perth at The Goods Shed in Claremont.

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Field of Light: Avenue of Honour, Bruce Munro, Albany. Photograph by Lee Griffith, 2018.

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FORM’s Reach

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Cities FORM’s exhibitions have travelled to.

Cities our artists in residence have come from.

Where our exhibited artists and creatives have come from.

271 Western Australia

2

New Zealand

1

Tonga

1 Australian Capital Territory

1

Singapore

1 Torres Strait Islands

1

Indonesia

9 Victoria 9 New South Wales 2 Queensland

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9

United Kingdom

2 Germany

1

Ireland

2 Netherlands

5

North America

1 Spain

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1 Norway

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WA Creatives Engaged

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Johanna Acs

Cheyne Cameron

Frank Footscray

Olive Joseph

Michelle Adams

Diane Campbell

Melissa Foster

Mathilde Joubert

Sean Adamas

Kelly Canby

Alex Fossilo

Thelma Judson

Steven Aiton

Gavin Canning

Andrew Frazer

Mabel Juli

Kathy Allam

Judith Yinyika Chambers

Crystal Gardiner

Margaret Albert

Doreen Chapman

Delroy Gardiner

Kanyirninpa Jukurrpa representatives

Alisha Allen

May Wokka Chapman

Clara Allen

Morag Chapman

The late Nyapuru (William) Gardner (1943–2018)

Kelvin Allen

Nancy Nyanjilpayi Chapman

Louise Allen

Roberta Chapman

Markus Allen

Eileen Charles

Rohanna Allen

Imelda Charles

Royden Allen

Cheeditha Art Group

Helen Ansell

Jacky Cheng

Judith Aspro

Isaac Cherel

Billy Yunkurra Atkins

Jill Churnside

Sophie Atkinson

Patrick Churnside

Willara Barker

Hozaus Bidaliki Claire

Rebecca Baumann

Nola Nelson Clinch

Beau est Mien

Tiffany Clitheroe

Steve Berrick

Irene Coffin

Narelle Bettini

Lorraine Coppin

A.J. Betts

Marian Cox

Caroline Bidu

Sarah Cox

Claudie Biliau

Debbie Crothers

Pascal Billiau

Rebecca Dagnall

Jakayu Biljabu

Sangita Trivedi Daniel

Morika Biljabu

Mel Dare

Owen Biljabu

Lorna Dawson

Sharon Bill

Carly Day

Cathy Blanchflower

Michelle Day

Shellie Blatch

Kaya Dhu

Wilma van Boxtel

Layne Dhu-Dickie

Josie Wowolla Boyle

Fleur Diamond

Leanne Bray

Caitlin Dominey

Selena Brown

Ian Dowling

Anthony Bullen

Rachelle Dusting

Biddy Bunwarrie

Sonya Edney

Natalie Bunwarrie

Sharyn Egan

Pauline Bunwarrie

Kertu Ehala

Ashtonia Burton Russelina

Peter Farmer

Illyampi Victor Burton

Dallas Fletcher

Katjarra Butler

Annabella Flatt

Roma Butler

Christian Fletcher

Polly Pawuya Butler-Jackson

Michael Fletcher

Teddy Byrne

James Foley

Siobhan Kelley Robert Joseph Kickett

Sheila Kate Gardiner

Eleanor Killen

Zenith Kane Gardiner

Zan King

Ian Gear

Douglas Kirsop

Jeannie George

Helen Komene

Max George

Claudia Kraus

Bob Gibson

Pam Langdon

Taryn Gill

Lavinia Letheby

Marissa Ginger

Travis Lilley

Gloria

Tania Lindau

Anne Gordon

Benjamin Loaring

Melanie Gordon

Jodie Loaring

Charmaine Green

Owen Loaring

Maggie Green

Bobbie Lockyer

Felicity Groom

Marie Lockyer

Alice Guinness

Skye Lockyer

Rowan Hale

Lily Long (Jatarr)

Amelia Harvey

Annetta Lormada

Naomi Hatherley

Clifton Mack

Sohan Ariel Hayes

Michael Macrae

Taryn Hays

Soolagna Majumdar

Leanne Heenan

Lindsay Malay

Glenn Hegedus

Ngarralja Tommy May

Monica Henry

Mulyatingki Marney

Ella Hinch

Roberta Marney

Howard Holder

Michael Maroney

David Hooper

Barry Marshall

Janeen Horne

Janelle McCaffrey

Jean-Paul HorrĂŠ

Natalie McCarthy

Jennifer Hourquebie

Carrie McDowell

Amok Island

Barry McGuire

Polly Jack

Alana McKenzie

Sadie James

Meg McKinlay

Tjukupati James

Britt Mikkelsen

James Jarvis

Minyawe Miller

Maudie Jerrold

Stormie Mills

Pippa Johns

Eric Mitchell

Pillita Jones

Amy Montefiore

Craig Jordan

Tanya Montgomery

OTHER Creatives Engaged Kobi Morrison

Valda Sesar

Jesse Andrews (US)

Ronald Mosquito

Bewley Shaylor

David Astle (VIC)

Kate Mott

Ann Sibosado

Lacy Barry & Cris Wiegandt (Germany)

Patsy Mudgedell

John Prince Siddon

Beastman (NSW/Indonesia)

Amy Mukherjee

Amanda Smith

Paul Collard (UK)

Kate Alida Mullen

Roderick Sprigg

Jennifer Collier (UK)

Patrick Mung Mung

Mervyn Street

Crizilla & Delasey (Germany)

Nyangulya Katie Nalgood

Joanna Sulkowski & Arcadian Dreams

Monica Davidson (NSW)

Jennie Nayton Natasha Nelson Lindsay Newland Gabriel Nodea Nancy Nodea Ellen Norrish Taylah Nowers Nora Nungabar Kyle Hughes-Odgers Jennie Officer Michael Paekam Johannes Pannekoek Serena Parker Summer Parker Chad Peacock Rhianna Pezzaniti Jesse Pickett Beryl Ponce Eunice Yunurupa Porter Greg Postle Shirley Purdie Kathy Ramsay Natalie Read Peta Riley Jayne Rolinson Yanjimi Peter Rowlands Rose & Bud Peter Ryan Winnie Sampi Cliff Samson Judith Anya Samson Kathy Samson Violet Samson Allery Sandy Lezlie Saunders Brenton See

Glenn B. Swift Alina Tang Emma Tann James Tapscott Alysha Taylor Curtis Taylor Greg Taylor Ignatius Taylor Muuki Taylor Karnu Nancy Taylor Wokka Taylor Paul Thomas The late Phyllis Thomas (1933–2018) Jasmine Tucker Leah Umbagai Gwenaël Velge Andrea Vinkovic Narlene Waddaman Daniel Walbidi Yandell Walton Ben Garmirrl Ward Nyarapayi Giles Warmurrungu Wendy Warrie Nora Whompi Corban Clause Williams Tamisha Williams Jude Willis Jessica Wilson Bugai Whyoulter Cyril Whyoulter Campbell Whyte Michael Woodley Molly Woodman

Pilar Mata Dupont (Netherlands/WA) Delwyn Everard (NSW) Evoca1 (USA) Richard Fairgray (NZ) Stuart Frost (Norway/UK) Paul Gorman (UK) Nicki Greenberg (VIC) A.F. Harrold (UK)

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Illiam Nargoodah

Jirra Lulla Harvey (VIC) Leigh Hobbs (VIC) Jonathan Holloway (VIC) Catherine Hunter (NSW) Sarah Laing (NZ) Charles Landry (UK) David Leha (NSW) Bill Lucas (UK) PJ Lynch (IRE) Jose Antonio Roda Martinez (Spain) Kim McConville (NSW) Susan McCulloch (VIC) Emily McCulloch Childs (VIC) Nicole Monks (NSW) Bruce Munro (UK) Levi Pinfold (QLD) Patrick O’ Leary (ACT) Aviva Reed (VIC) Chris Riddell (UK) Brian Robinson (QLD/TSI) Daniel Rose (NSW) Mike Stilkey (USA) Berndnaut Smilde (Netherlands) Tai Snaith (VIC) Gabrielle Sullivan (NSW) The Yok & Sheryo (US)

Trent Woods Yandeyarra Remote School Zabia Nick Zafir

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Wendy Nanji

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201 9:

The Year at a Glance JAN UA RY

Optus Stadium opened to the public in January, unveiling a host of new artworks, including one of the biggest collections of Noongar public art anywhere in the Perth Metropolitan area. FORM had the pleasure of working with many talented artists in the creation of works for this project, including Chris Drury, Barry McGuire, Jonathan Tarry, Sharyn Egan, Chris Nixon and Tom Lucey.

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In his first Western Australian residency, which encompassed visits to a number of regions throughout the State over a several week period, environmental artist Stuart Frost explored culture, myth and history in playful, ephemeral, land art interventions.

Convergence, Jon Tarry, Optus Stadium.

Photograph by Bewley Shaylor, 2017.

F E BR UA RY

Gloria, the debut solo exhibition by a contemporary Pilbara Aboriginal artist whose work has been drawing critical attention across the State, opened at FORM’s The Goods Shed in February 2018.

Brooklyn-based street art duo Yok and Sheryo completed a 35 metre high seadragon mural on grain silos in Albany, Western Australia, creating the fourth mural in FORM’s PUBLIC Silo Trail series. As part of the project, Western Australians Helen Ansell, Rachelle Dusting, Nick Zafir, Andrew Frazer and Glenn Hegedus painted Western Power transformer boxes across the town.

M A R CH

FORM’s Creative Schools program was piloted during the 2018 academic year in five schools. Developed in partnership with expert in residence Paul Collard, a specialist in creative education, the Creative Schools program trained and deployed artists and creatives in schools and educational environments to work alongside teachers. While in residence at The Goods Shed in March, Collard conducted intensive professional development sessions for teachers and creative practitioners with fellow creative Paul Gorman. Paul Collard returned later in the year to assess the outcomes of this pilot.

AP RIL

J U LY

Pilar Mata Dupont’s photographic and video series Undesirable Bodies, exploring the legacies of colonization at sacred Aboriginal area Jirndawurrunha in the Pilbara’s Millstream Chichester National Park, exhibited at FORM Gallery as part of the 2018 Perth Festival. The Art Gallery of Western Australia acquired the centrepiece of the exhibition, the 16-minute film Undesirable Bodies.

Author, speaker and architect of the Creative City concept - now a global movement - Charles Landry presented at The Goods Shed in July on the use of imagination and creativity in urban change.

UK political cartoonist Chris Riddell, American novelist and screenwriter Jesse Andrews and English poet A.F. Harrold joined a lineup of nationally and internationally celebrated children’s book authors descending on Perth in May for the inaugural Scribblers Festival of literature and arts for young people. Alongside the 2017 Children’s Laureates from the UK, Ireland and Australia, the Festival was attended by a swag of award winning authors and illustrators including Melbourne-based Tai Snaith and Aviva Reed.

In May 2018, FORM commenced work with the City Renewal Authority to develop a five year Urban Art Strategy for the urban core of Canberra. FORM are now in the final stages of approvals, seeking additional consultation and input from the Aboriginal and Torres Strait Islander community in Canberra. The Strategy takes on an innovative approach to public art, calling upon the entire spectrum of the arts to foster a holistic approach to urban renewal by sustaining the identity, wellbeing, and quality of the CRA precinct’s public space network.

During 2018 artwork from Spinifex Hill Studios was acquired by major institutions including the Art Gallery of South Australia, the Museum and Art Gallery of Northern Territory and Charles Darwin University. The artist group also earned an impressive spike in artwork sales, an increase of 51% from the previous year. The artist group was represented at national art fairs (11th Darwin Aboriginal Art Fair, Desert Mob in Alice Springs and TARNANTHI 2018 in Adelaide), exhibitions in Perth, Darwin, Adelaide, Hobart and the Mornington Peninsula, and also in major prizes including the 35th NATSIA Awards, the Black Swan Prize for Portraiture, and the Paddington Art Prize (Sydney).

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M AY

Collaborative exhibition Pujiman, uniting artists from two of the Pilbara’s most dynamic Aboriginal art centres, Spinifex Hill Studios and Martumili, was opened by Ben Wyatt MLA, State Treasurer and Minister for Aboriginal Affairs, and Edgar Basto, BHP Asset President Western Australia Iron Ore with a Welcome to Country by Barry McGuire.

JUN E

Native Western Australian wildlife took centre stage in sky-high silo art for the fifth PUBLIC Silo Trail mural at Newdegate. Perth muralist Brenton See translated the region’s western bearded lizard, mallee fowl, thigh spotted tree frog and red-tailed phascogale to canvas in four towering murals on the Newdegate CBH Group silos over 13 days.

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Pujiman Opening, The Goods Shed.

Photograph by Taryn Hays, 2018.

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SEP TEMBER

The final mural in FORM’s PUBLIC Silo Trail was completed on giant grain storage silos in the Great Southern farming town of Pingrup and launched at the Newdegate Machinery Field Days by Minister for Regional Development Alannah MacTiernan.

Miami artist Evoca1’s 25 metre high artwork was the sixth mural to have been created on grain silos in regional Western Australia as part of the project, joining painted silos in Northam, Merredin, Newdegate, Ravensthorpe and Albany to form a large-scale outdoor art gallery spanning the region.

13 PUBLIC Silo Trail, Evoca1, Pingrup.

Photograph by Bewley Shaylor, 2018.

Also in September, FORM and the Pilbara Development Commission’s Pilbara Creative and Cultural Forum drew more than 220 delegates from across Australia to a first of its kind event in Newman. With 12 events featuring 44 sessions by more than 39 speakers across seven venues, the Forum united the organisations and the projects using art for impact across the Pilbara, and connected them with some of Australia’s leading cultural producers.

Efflorescence, Kyle Hughes-Odgers, 2018, Karratha Health Campus.

Photograph by Bewley Shaylor, 2018.

FORM, in partnership with the Bruce Munro Studio, presented Catching the Light, a photographic record of the artist’s work from all over the world, captured through photographs by Munro’s longterm collaborator, Mark Pickthall. The exhibition at The Goods Shed was timed to coincide with the October 2018 opening of Field of Light: Avenue of Honour, Munro’s latest installation, only the second ever in Australia.

An art installation honouring peace and reconciliation with 16,000 glowing spheres planted in the ground at Albany’s Mount Clarence drew more than 1,400 people to its public opening and nearly five times its expected attendance numbers -at 140,000- by March 2019. Commissioned by cultural organisation FORM in partnership with the City of Albany, Field of Light: Avenue of Honour is an homage to the Anzac forces who departed Albany’s shores more than a century ago for the battlefields of World War One.

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DE C E M B E R

With Most Outstanding Work won by Patrick Mung Mung for his artwork Places of Ngagoorroon, FORM’s annual Hedland Art Awards, one of the richest and most prestigious nonacquisitive regional art awards in Australia, provided exhibitors with exposure to a national audience, and offered new and upcoming artists opportunities to develop and showcase their work.

Global creative learning expert Bill Lucas held a public talk on how creative learning can prepare young people in Western Australia to thrive academically, emotionally and socially.

2018 also saw the final delivery stages of the public art strategy for Karratha Health Campus, which opened officially by Premier Mark McGowan in October 2018. 54 artworks in total now form part of the State Government collection, including three large sculptural works, a mural, an interpretative historical artwork and a large number of 2D artworks, all by Western Australian artists exhibiting an inherent connection to the local region.

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OC TOBER-

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At a Glance TOTA L AT T EN D EES

220,725* *This is an estimation

FIELD OF LIGHT CREATIVE LEARNING SCRIBBLERS FESTIVAL PILBARA FORUM

66,445 1,691 10,000 224

PUBLIC SILO TRAIL

15,000

THE GOODS SHED

72,577

COURTHOUSE GALLERY

7,985

15

WEST END MARKETS

12,000

VISITOR CENTRE

30,000

PERTH GALLERY

3,373

SPINIFEX HILL STUDIOS

1,440

TOTA L WOR K S HO P AT T E N D EES

8654 FIELD OF LIGHT

1765

CREATIVE LEARNING

1691

SCRIBBLERS FESTIVAL

853

PILBARA FORUM PUBLIC SILO TRAIL

95 96

COURTHOUSE GALLERY

1000

THE GOODS SHED

3154

610 TOTAL C RE ATIVE S INVO LVE D

23 TOTA L N U M BER O F CO L L A BOR AT I O N S

REGIONAL

12 THE GOODS SHED

FIELD OF LIGHT N AT I O N A L PUBLIC SILO TRAIL

PUBLIC ART C R E AT I V E L E A R N I N G

I N T E R N AT I O N A L

6

PILBARA FORUM

16

PERTH GALLERY

380 TOTA L N U M BE R OF WOR K S CR EAT E D / P R E S EN T ED AS A R E S U LT O F CO L L A BOR AT I O N S

COURTHOUSE GALLERY

SPINIFEX HILL STUDIOS REGIONAL

338 N AT I O N A L

7

I N T E R N AT I O N A L

35

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S C R I B B L E R S F E S T I VA L

5

AR - 2018 17 Untitled, Gloria. Photograph courtesy of Spinifex Hill Studios, 2017.

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19

M E D I A

GLO BA L R E ACH

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NEW ZEALAND

NORTHERN IRELAND

SINGAPORE

BUNBURY

USA

WA L E S

H O N G KO N G

ALICE SPRINGS

CANADA

FRANCE

THAILAND

NEWMAN

SOUTH AMERICA

HOLLAND

INDONESIA

K A R R AT H A

SOUTH AFRICA

THE NETHERLANDS

BALI

PORT HEDLAND

ISRAEL

SWITZERLAND

MELBOURNE

WA R A K U R N A

S COT L A N D

BELGIUM

SYDNEY

M U L L E WA

ENGLAND

GERMANY

PERTH

ALBANY

IRELAND

S PA I N

QUEENSLAND

C OURTHOUSE GALLERY

F OR M GA L L ERY

8

2

T HE GO OD S S HE D

TOTA L E X H IB I T I O N S

13

3

1 ,7 6 1

TOTAL ARTWORK S C REAT E D

-

FIELD OF LIGHT

SCRIBBLERS

-

1

3

-

PUBLIC SILO TRAIL

PUBLIC ART

-

FORM GALLERY

15

5 0

-

-

14 6

COURTHOUSE GALLERY

-

2 6 1

SPINIFEX HILL STUDIOS

-

1, 2 2 3

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20

THE GOODS SHED

6 2

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MAJOR PROJECT Field of Light Avenue of Honour, Albany. Photograph by Mark Pickthall, courtesy of the Bruce Munro Studio, 2018.

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22

TS

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Field of Light: Avenue of Honour ‘Healing, exhilarating, emotional and humbling.’

As darkness falls at Mount Clarence, a forested peak on Western Australia’s southernmost coast, thousands of little bulbs bloom with light, brightening to life like seedlings after rain. A sweeping path of 16,000 slender stems crowned with glowing glass spheres, it flickers gently from green to white to yellow beneath memorial trees leading up to the mountain summit. UK artist Bruce Munro’s immersive installation Field of Light is internationally recognised. It has travelled from country manors in the UK to botanical gardens in the US. This iteration, lighting the apex drive of an antipodean peak overlooking the sea, tells a uniquely Australian story in a new and contemporary way.

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Commissioned by FORM in partnership with the City of Albany, Field of Light: Avenue of Honour is an homage to the Anzac forces who departed Albany’s shores more than a century ago for the battlefields of World War One. Albany was the last glimpse of Australia for many, and the first sight of home for those who returned. The national flowers of the Anzac nations, the wattle and the kowhai, are celebrated it its firefly glow, and in the weeks leading up to this installation’s launch, decedents of these historic soldiers were among the 50 volunteers who helped to plant the installation in the ground. An honouring of beauty, sacrifice, peace and reconciliation one hundred years after that war’s end.

The installation’s launch was broadcast across the nation’s television screens and newspapers, on the ABC, Channel 7, 9 and 10, and most of the major newspapers.

The artwork’s public opening drew more than 1,400 people and, just halfway through its exhibition lifespan, Field of Light: Avenue of Honour had drawn nearly five times its expected attendance numbers, welcoming its 140,000th attendee in March 2019.

Field of Light Avenue of Honour, Albany. Photograph by Mark Pickthall, courtesy of the Bruce Munro Studio, 2018.

Field of Light: Avenue of Honour entailed detailed strategic management spanning road closures to community consultation, and the transportation, management and organisation of specialised equipment thousands of kilometres via international and domestic flights from the UK to Australia, as well as many hours spent planting stems of light into the ground. But an installation doesn’t start when you put it into the ground.

“It’s actually the processes,” Munro says. “It’s so many people’s thoughts and ideas.” FORM and Bruce Munro first began negotiations back in 2015, and this artwork was the culmination of many years’ collaboration and development. The project was delivered in partnership with a number of stakeholders, including the City of Albany, the Australian Government Building Better Regions Fund, the State Government, Tourism WA, Lotterywest and the Kerry Stokes Foundation.

With 39 percent of visitors from Perth, 19 percent interstate travellers and seven percent international visitors, the installation has contributed to a holistic and coordinated cultural regional tourism strategy and an improved reputation for Albany and the Great Southern Region. Developing linkages with national and international trading partners, the installation has provided opportunities for exchange and capacity building for the community.

Visitors to the installation, who have walked its gently glowing path of light, have described it as ‘healing, exhilarating, emotional and humbling.’

It is also accessible, meaningful and ambitious.

Showcasing Albany nationally as a world- class tourism destination, the installation continues to serve as a poignant reminder of the ultimate sacrifice made by Anzac troops more than a century ago.

WEBSITE REACH

178,000

140,000+

(2018 only, and FORM posts only, doesn’t include FoL posts by the public)

(2018 only) or 250,000+ including 2019

24

FACEBOOK REACH

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FIELD OF LIGHT ON L INE

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City of Albany Mayor Dennis Wellington

“A L B A N Y H A S B E E N N OT I C E A B LY B U S I E R OV E R T H E S U M M E R H O L I D AY P E R I O D A N D THE NUMBERS TO THE I N S TA L L AT I O N H AV E BEEN INCREDIBLE, IT’S B E E N A G R E AT I N I T I AT I V E F O R U S T O B E I N V O LV E D I N A N D W E ’ R E R E A L LY P R O U D O F I T S S U C C E S S .”

66 , 4 4 5

AT T E N D E E S DURING 2018

TOTA L AT T EN D EES TO F I E L D OF L I GHT:

1 40,0 0 0 + * *calculation correct at time of print

Field of Light Avenue of Honour, Albany. Photograph by Mark Pickthall, courtesy of the Bruce Munro Studio.

ME DI A

85

80

ONLINE:

85

ME N TI O N S

75

70

O F F I E L D

65

60

OF 45

OF HONOUR

35

30

20

65 T O TA L VOLUNTEERS

15 *calculation correct at time of print

HOURS FOR I N S TA L L

46

40

25

600

P R I N T:

26

AVENUE

VOLUNTEER HOURS IN T O TA L

50

10

5

0

TELEVISION:

21

I N T E R N AT I O N A L :

15

AUDIO (RADIO):

5

AR - 2018

LI GHT:

1700

55

AR - 2018 27 Field of Light: Avenue of Honour, Bruce Munro, Albany. Photograph by Lee Griffith, 2018.

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28

AR - 2018 M A J O R P R OJ EC TS

Pilbara Creative and Cultural Forum The Pilbara region: inspiration, ancient land, resource, home, teacher, and mystery.

The potential for this region to express itself in a way that fully communicates the power of its size, wildness, cultural sacredness, beauty, character and toughness is perhaps the key to articulating an identity that is more profound

29

and expansive than any one industry or community can achieve.

In September 2018, FORM and the Pilbara Development Commission’s Pilbara Creative and Cultural Forum drew more than 220 delegates from across Australia to a first of its kind forum in Newman. With 12 events featuring 44 sessions by more than 39 speakers across seven venues, the Forum united the organisations and the projects using art for impact across the Pilbara, and connected them with some of Australia’s leading cultural producers.

Drawn from local and State government, Aboriginal corporations and arts centres, industry and business, these people included artists, change-makers, Aboriginal and non-Indigenous creative practitioners, legislators and cultural personnel from all over the Pilbara and the State.

95%

OF SURVEY RESPONDENTS S T R O N G LY A G R E E THEY ARE OPEN TO C O L L A B O R AT I N G WITH OTHERS IN THE PILBARA BECAUSE THEY AT T E N D E D T H E FORUM.

The Forum brought key players together to discuss and take the initial steps in shaping a sustainable cultural strategy, and by implication, contributing to a strengthened social and economic future for the Pilbara.

FORM was uniquely positioned to draw these diverse groups together for the first time and deliver an event of this calibre because of our strong networks and decade-long relationships with operators in the region. Our sustained funding and partnership with BHP has enabled us to facilitate targeted development of the region’s creative sector, from microbusinesses advancement through the Creative Business Development Series to the evolution of Spinifex Hill Artists from a small collective to nationally recognised Aboriginal arts studio.

Subjects discussed ranged from creative and artistic strategy to cultural tourism opportunities and place branding, to caring for country, public art, and examples of best practice approaches when working with cultural content and regional communities. In an environment the size and complexity of the Pilbara, successful creative and social outcomes depend on co-operation, collaboration and community. Critically, consistent funding is key: steady funding models that can support the type of risk taking and innovative thinking that looks towards long term outcomes.

Senior Project Officer at Pilbara Development Commission Jenna Dodge addresses a workshop discussion, Pilbara Creative and Cultural Forum, Newman. Photograph by Bewley Shaylor, 2018.

30

95%

OF SURVEY RESPONDENTS LEARNED SOMETHING NEW FROM THE INVITED N AT I O N A L SPEAKERS

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90%

OF SURVEY RESPONDENTS LEFT THE FORUM FEELING EMPOWERED TO CONTRIBUTE TO THE FUTURE OF THE P I L B A R A’ S C R E AT I V E A N D C U LT U R A L SECTOR

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Why a Creative and Cultural Forum?

31 Kim McConville (Beyond Empathy) and performer David Leha address the audience, Pilbara Creative and Cultural Forum, Newman. Photograph by Bewley Shaylor, 2018.

Forum keynote speaker Jonathan Holloway, director of the Melbourne Festival observed that art is legacy.

Art has the power to reach millions. In February 2015 around 1.4 million people saw The Giants over three days in the Perth CBD, as part of Mr. Holloway’s final Perth Festival. Government research found that this arts event, the biggest ever staged in Australia, was worth $40 million to Perth businesses.

Imagine the possibilities for arts programming drawing from a region as rich in cultural resources and natural beauty as the Pilbara. Culture is one of the key opportunities for business and economic growth; and for social impact. Business can truly be a force for good and it has a vital role in addressing some of the world’s social and environmental issues.

The Forum demonstrated the immense worth in bringing people together, connecting different groups, and supporting Aboriginal creatives in exploring what type of future they could imagine for themselves. It has given voice and momentum to a desire from across the region for greater collaboration between industry, arts, and government. Approaches to FORM for arts strategy and cultural planning assistance from Local Government organisations region-wide highlight the many opportunities that exist in this field.

The consultation at the Forum formed the basis for a creative and cultural strategy aimed at driving growth, diversification and development of the Pilbara. It has highlighted a willingness between Aboriginal organisations to explore programming ideas and projects, and revealed a genuine interest in working together.

With the appropriate time and financial investment, this momentum has the potential to translate shared vision into a Pilbara-wide cultural tourism strategy.

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Not only are creativity and culture vital to economic diversification, they are also central to the identity and inclusiveness of a community; who it is, and who it seeks to be. Studies by Social Ventures Australia have shown art centres are more than high-performing vehicles for cultural strength and expression: they are also holistic service providers in regional communities. Culture and creativity provide more than just art, they are the fabric of communities. Beyond its value as an experience in itself, art collectively helps to sell our State to the rest of the world, and tells the stories of our rich Aboriginal and Torres Strait Islander history and culture.

According to Forum keynote Catherine Hunter, Head of Corporate Citizenship at KPMG, cultural tourism is one of the biggest market opportunities from an economic stand point related to delivering the United Nations’ Sustainable Development Goals; a global collaborative effort estimated to open up a $12 trillion opportunity in new markets and economic growth. It is also an opportunity to build an inclusive economy that will leave no one behind.

Creative and cultural initiatives in the Pilbara are now in a position to grow. Collaboration between businesses and the creative sector could have tremendous, sustainable impact. We can achieve more as service providers if we come together and invest in social and economic impact.

This kind of impact requires an expansion of networks across the Pilbara and an openness to co-creation but now, in the wake of the Pilbara Creative and Cultural Forum, is an opportune moment to build on the many possibilities and opportunities at play for the region.

All videos of the presentations are avalible on www.pilbaracreativeforum.com.au

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After years of consistent partnership and funding, various arts organisations and cultural corporations have been able to think towards longer term development and deliver leading projects and products. The Pilbara was therefore ready for this Forum, reflecting the fact that creative industries are at their watershed moment within a global trend recognising them as emerging economic major players. With an annual contribution of $90 billion to Australian GDP, the 2016 census showed creative industries as among our fastest growing, many of them fundamentally embedded in other industries. The new East Pilbara Art Centre, venue for the Pilbara Creative and Cultural Forum, highlights the importance of cultural infrastructure to employment and sustainability in regional Australia. Since the building has been opened, 52 new artists have been recruited and more than 1,100 artworks have been produced there.

AR - 2018 33 Martumili Gallery Coordinator Amy Mukherjee addresses the audience in Group discussion, Pilbara Creative and Cultural Forum, Newman. Photograph by Bewley Shaylor, 2018.

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AR - 2018 M A J O R

PUBLIC Silo Trail

P R OJ EC TS

Vibrant Giants: FORM completes massive ‘open air gallery’ In March 2015 FORM and CBH Group, Western Australia’s premier grain growers’ cooperative, joined forces on the first ever mural painted on an Australian grain silo, at Northam, and kick-started a national trend.

The 38 metre high artwork by internationally renowned street artists Phlegm and HENSE became a unique cultural way post drawing worldwide attention to the telling of another story about Western Australia’s economy: its agricultural heartland. What has resulted is an innovative cultural tourism experience: a self-drive tourism trail spanning regional Western Australia in six towering silo murals.

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In 2018, the three communities of Albany, Pingrup and Newdegate joined those already part of FORM’s PUBLIC Silo Trail: Northam, Merredin, Ravensthorpe and Katanning, rounding off the art delivery phase of the project. This permanent, open-air, truly PUBLIC ‘gallery’ links rural and coastal towns across Western Australia’s southern regions, a game changer for bringing renewed emphasis to the positive perceptions of the regions, their people and industries, and the unique canvas they provide. It also celebrates the burgeoning recognition of the powerful role urban art can play across different ‘canvases’ and applications, thanks to programs like FORM’s PUBLIC. The trail has also triggered a broader, Australia-wide phenomenon in traditional agricultural areas. To date there have been 18 new murals on silos across rural NSW, Victoria, Queensland and South Australia, spurring thousands of travellers to visit regional towns.

The paint has barely dried on these epic cultural landmarks and already towns on the Trail are feeling its impact. In Ravensthorpe, where local artist Amok Island’s Banksia inspired mural wraps around three grain silos like a welcome banner on entry to the town, visitation has increased to the point where they have had to install additional free caravan sites to accommodate the influx

of travellers. In Newdegate, microbusinesses have been sparked with a food truck operating on the main street to capitalise on the town’s newest tourism asset, while in neighbouring Pingrup the Community Resource Centre has reopened the community’s Store Cafe, to cater to travellers stopping in on the Trail.

But more than driving visitation and tourism spend through high profile cultural attractions, the PUBLIC Silo Trail casts a light on these beautiful, distinctive regions of Western Australia, and what they have to offer to the rest of the State.

From a community of less than 300 at Pingrup to the state’s sixth-largest population centre in Albany, hundreds of community members have been involved in creative programming through eight community meetings, five school visits, six youth engagement workshops and four artist talks, just in 2018 alone.

Satellite projects which piggybacked on the Trail in towns like Katanning and Albany have engaged nine local artists and numerous young people in six wall-based murals, 15 transformer box artworks and one exhibition.

The completed trail was launched at the Newdegate Machinery Field Days in early September. While all these murals were being created, FORM ran a whole suite of community engagement initiatives in each town, including workshops with schoolkids, young artists, community events and numerous artist talks. Hundreds of local people (in Newdegate’s case over half the community’s total population) celebrated their silos in launch gatherings.

From features on ABC’s nationwide News Breakfast show to inclusion in a special commemorative Australia Post stamp collection, to making the hot list in Lonely Planet’s definitive Street Art guide, the Trail has reaped significant national and international media coverage during each stage of the project. Dedicated films documenting the PUBLIC Silo Trail have been shown at everything from the Newdegate Machinery Field Day, one of regional Western Australia’s

36

most attended events, to the Digital Tower in a high profile public landmark at Yagan Square in the heart of Perth CBD. As we enter the promotional phase of the newly completed PUBLIC Silo Trail, FORM will work to build on the early successes of the project. FORM is now focused on encouraging even greater visitation to the regional towns on this iconic Australian tourist drive, through a dedicated marketing campaign.

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PUBLIC Silo Trail, Evoca1, Pingrup.

Photograph by Bewley Shaylor, 2018.

The PUBLIC Silo Trail has achieved a high volume of media coverage during the final year of the project.

It has been directly marketed to FORM’s database of more than 6,000 and our 30,000 social media followers. FORM also commissioned four short films documenting each of the murals completed during 2018, as well as a final film documenting the full trail, which have each achieved wide reach on social media and throughout FORM’s networks and which have been featured publicly through a range of avenues. Prominent media achieved for the PUBLIC Silo Trail during 2018 was a three day dedicated Page 2 feature in The West Australian’s Inside Cover; the State’s biggest newspaper and Australia’s highest circulating Monday to Friday publication, with a circulation of 152,353 and features in national newspaper The Australian and in Street Art Magazine, the definitive, global online magazine for Street Art and Urban Contemporary Art.

AR - 2018 M A J O R P R OJ EC TS

107

TOTAL DAYS O F PAINTING

15

PINGRUP

13

N E W D E G AT E

17

ALBANY

14

MERREDIN

31

R AV E N S T H O R P E

17

NORTHAM

1,934

L ITRE S O F PAINT US E D

37

230L

PINGRUP

120L

N E W D E G AT E

180L

ALBANY

200L

MERREDIN

450L

R AV E N S T H O R P E

754L

NORTHAM

8714M2 S Q UARE M E TRE S PAINTE D

1500M2 600M

2

PINGRUP N E W D E G AT E

1750M2

ALBANY

1540M2

MERREDIN

1500M2

R AV E N S T H O R P E

1824M2

NORTHAM

38

PUBLIC Silo Trail, Brenton See, Newdegate.

Photograph by Bewley Shaylor, 2018.

Albany’s Youth Support Association (AYSA) runs an Open Access Studio for young people interested in all aspects of music, multimedia, painting and urban art.

FORM and Western Power’s transformer box project was the perfect opportunity to get up to six young Albany artists involved. Over several sessions at the Studio, professional artists Rachelle Dusting, Glenn Hegedus and Nick Zafir shared their skills with the rookie artists. Then, under supervision of Glenn and with assistance from FORM, three of them painted their own transformer boxes. In addition to the invaluable experience of working directly with professional artists on the process of concept to delivery of a public artwork, the young people were paid for their work.

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SPARKING CREATIVITY IN ALBANY

AR - 2018 M A J O R P R OJ EC TS

Stories from the Silo Towns Places, people and stories from the Western Australian Wheatbelt Travelling FORM’s PUBLIC Silo Trail from Northam to Merredin, via Katanning to Pingrup and Newdegate; across to Ravensthorpe and finishing in Albany, FORM publication Stories from the Silo Towns casts a light on the people behind some of Western Australia’s most distinctive regional towns, and works to reveal something of who they are, and what their communities mean to the rest of the State. The social documentary project features 50 first person narratives and photographs drawn from hours and hours of interviews conducted in the Wheatbelt and Great Southern regions of Western Australia during the painting of the silo murals in 2017 and 2018.

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A catalogue of the interconnectedness and generational continuity of life on the land, Stories from the Silo Towns seeks to hold to the light the imagination and compassion, the entrepreneurialism and the collective resilience that has defined Western Australia’s tenacious Wheatbelt communities from the days of early land clearing right up to today’s broadacre agriculture. Capturing the intimate values and everyday experiences that form the robustness of place for those people who call the Wheatbelt home, Stories from the Silo Towns is presented in book form, with an accompanying short film. It is available for sale at The Goods Shed in Visitor and Community Resource Centres along the PUBLIC Silo Trail, with proceeds from those sales going back to the Centres.

The project engaged regional communities across hundreds of thousands of communities, highlighting and celebrating their distinctiveness in an authentic and original way.

Stories from the Silo Towns, Michelle Gethin and family. Photograph by Em Louise Photography, 2017.

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40

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Stories from the Silo Towns, Tim Flanagan, Ravensthorpe. Photograph

by Bewley Shaylor, 2018.

M A J O R P R OJ EC TS 41

Stories from the Silo Towns has so far been featured in a series of segments in Graziher Magazine’s print and online publications, on ABC Great Southern’s breakfast program and in The West Australian, WA Today and The Albany Advertiser. At the time of print the film segment of the social documentary project had reached 32,600 people, with 182 shares and 13,000 views.

H OW WE G OT THERE

7 TRIPS TO COMMUNITY

6 REGIONAL COMMUNITIES ENGAGED

5 0 S T O R I E S G AT H E R E D

300 HOURS OF EDITING AND DESIGNING

42

1000 BOOKS PRINTED

-

SHORT

FIL MS

C RE ATE D

F I L M

V I E W S

*Correct at time of print

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4

32,427*

AR - 2018 M A J O R P R OJ EC TS

Manguri Wiltja

43

In 2016 FORM initiated a unique cross-artform collaboration between artists from the remote Aboriginal community of Warakurna, and two highly innovative Australian arts companies, Polyglot Theatre and Tjanpi Desert Weavers. Melbourne-based Polyglot Theatre is Australia’s leading creator of interactive and participatory theatre for children and families; Tjanpi Desert Weavers is a uniquely innovative social enterprise which enables women across the Central and Western Deserts (including artists from Warakurna) to generate income from fibre art. Though specialising in different disciplines, each is internationally renowned for highly-engaging work that represents an innovative approach to the handmade.

Working with FORM, both organisations are exploring new creative ground via a commissioned performative installation for children and families.

the artists and senior community members to collect grass, hunt, and visit Country. Though this workshop was particularly aimed at engaging school children from the town, practically every one of the (approximately) 200 Warakurna community members engaged with the development of the work during this time.

In November 2016 the first stage of this project started at Polyglot Theatre’s facilities in Melbourne. Seven Tjanpi artists and team members, and two FORM curators travelled to Melbourne to initiate the collaboration with Polyglot staff.

The development of Manguri Wiltja will be completed in Fremantle during April 2019, with the work to premiere at the Fremantle Arts Centre as part of Revealed – the most significant annual event for Western Australia’s regional and remote Aboriginal art centres. Following its launch, the project partners intend to tour the work to Australia’s major national Aboriginal art exhibitions and events.

This initial stage of the project consisted of early material and conceptual exploration for two weeks, including collaboration with local primary school students.

Additionally, during these early stages, the Arts Law Centre of Australia began work on legal agreements and the management of Indigenous Cultural and Intellectual Property for the project, pro bono. This will assist Arts Law with their development of a new template for legal agreements for collaborative projects involving Aboriginal and non-Indigenous artists and organisations.

The second stage of the project took place in July 2017, via an intensive two-week workshop in remote Warakurna. Two FORM curators, five Polylgot performers, a photographer and cinematographer drove into the Ngaanyatjarra Lands from Alice Springs to work with the Tjanpi artists and the broader Warakurna community.

The fortnight-long residency incorporated bush trips with

The third stage of the project, at The Goods Shed in November 2017 allowed children from the west coast of Australia to contribute to the work, along with continued input from Warakurna school children, who were also visiting Perth at the time.

A fourth workshop in October 2018 saw Polyglot staff return to Warakurna to continue experimenting with, and resolving the audio component of the work.

For all participating artists and organisations, Manguri Wiltja represents an opportunity to explore new creative ground and recognise long-held creative ambitions.

Polyglot have been fans of Tjanpi for many years and had not previously collaborated with Aboriginal artists. FORM and Tjanpi had not previously explored the medium of performance. For FORM in particular, the project represents an opportunity to develop a work specifically aimed at engaging children and young people.

44 Manguri Wiltja first development workshop, Melbourne. Photograph

by Theresa Harrison, courtesy of Tjanpi Desert Weavers, Polyglot Theatre, and FORM, 2016.

AR - 2018

Manguri Wiltja third development workshop, The Goods Shed.

Photograph by Bewley Shaylor, courtesy of Tjanpi Desert Weavers, Polyglot Theatre, and FORM, 2017.

AR - 2018 45 Manguri Wiltja third development workshop, The Goods Shed. Photograph by Bewley Shaylor, courtesy of Tjanpi Desert Weavers, Polyglot Theatre, and FORM, 2017.

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46

AR - 2018 47

CR Creative Schools Workshop, Bentley Primary School. Photograph by Taryn Hays, 2018.

48 AR - 2018

R E AT I V E

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C R EAT IVE

L EAR N IN G

Creative Learning

49

In 2018 FORM’s Creative Learning activities ramped up to become one of the most important and active programming areas in FORM’s overall operations. This repositioning reflects a growing concern, globally, about the need for future generations to have access to the learning experiences which equip them adequately for the technology and innovations of the twenty-first century.

FORM’s activities also respond to international research indicating that:

50

What’s the most important skill our children need to learn― and our schools need to be able to teach―for the future?

The answer is creative thinking and learning: the ability to develop original solutions, to cope with unpredictability, respond positively to change and to display flexibility of mind.

Education is most effective when young people are actively involved in leading and shaping it, taking responsibility for their own learning and playing an active leadership role in school life. Creativity brings with it the ability to question, to be curious, make connections, innovate, problem solve, communicate, collaborate and to reflect critically, the skills young people will need if they are to take responsibility for their own learning.1 Two key initiatives spearheaded FORM’s Creative Learning as a programming priority in 2018: Creative Schools and the Scribblers Festival of literature and arts for young people.

Additionally, a full timetable of schools workshops continued during 2018 at The Goods Shed, plus sessions specially tailored for teachers and parents, at which Paul Collard, Paul Gorman and Bill Lucas―FORM’s Creative Learning experts in residence―presented.

Creativity, Culture and Education’s 2012 Report ‘Changing Lives’

Creative Schools Workshop, The Goods Shed. Photograph by Taryn Hays, 2018.

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1

AR - 2018 C R EAT IVE L EAR N IN G

Creative Schools According to plenty of research, teaching children about creativity doesn’t work; but using creativity to improve the way they―and we―all learn, irrespective of the subject, really does work. And creative people: artists, writers, performers and so on are the secret weapon in how to do this.

Using creativity in schools really can help children’s learning and social skills flourish.

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Hence FORM’s Creative Schools program, piloted during the 2018 academic year in five schools. The aim of Creative Schools, developed in partnership with expert in residence Paul Collard, the CEO of leading foundation for creativity in education CCE, is to train and deploy artists and creatives to work alongside teachers in devising creatively-based learning activities, and delivering them in the classroom. While the in-school activities address a specific priority learning area as identified by the school and participating teacher (e.g. maths, HASS or science), they also aim to develop students’ creative and critical thinking, problem-solving and collaboration skills.

This approach has been shown, elsewhere in the world, to have a marked impact in schools in low socio-economic areas.

Creative Schools is about the art of learning. Or maybe, more accurately, the art of collaborating and listening, challenging and discovering, failing and growing, thinking and reflecting. The art of understanding how difficult learning or even just being at school can be for some students, and then imagining how creativity might be able to help ease or eliminate that difficulty. Or how creativity might increase the achievement for those who can already cope well. The bottom line is that the three R’s are still important; it’s just that there is more than one way of helping students achieve them.

These methods have been tested and measured in schools and education systems in other countries; FORM’s aim is to find out how these methods may work in Western Australia. Will there be a difference in attendance, test results, participation? Will kids start to be more resilient, imaginative, persistent, collaborative and inquisitive? Will effects be felt― not only at the level of the individual child―but also by the teachers, parents, classes; the whole school?

Of the five pilot schools in 2018, three―Bentley Primary, Merriwa Primary, and Kinross Primary― were co-funded by FORM and the Department of Local Government, Sports and the Creative Industries. The other two, Mundaring Christian College and Scotch College were self-funded.

Two classes from each of the five schools participated in the program, and FORM worked closely with the school leadership and an independent evaluator, education consultant Mathilde Joubert, to track the impact of Creative Schools on academic learning, attendance and behaviour. Results so far have been highly encouraging: early indications reveal that students are demonstrating deeper engagement in learning, better retention of learning and improved collaboration skills. Student agency has also improved across the five schools.

FORM is entering a partnership with the State Government’s Department of Education in 2019, to expand the program to more schools.

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Creative Schools Workshop, Bentley Primary School. Photograph by Taryn Hays, 2018.

“IT HAS MADE ME CHALLENGE M Y A S S U M P T I O N S A B O U T W H AT A C L A S S R O O M I S A N D H OW I T A F F E C T S S T U D E N T S ’ L E A R N I N G .”

AR - 2018

Barbara Del Fante, Bentley Primary School

AR - 2018 C R EAT IVE

Case Study

L EAR N IN G

How the Creative Schools program has started to transform learning at Bentley Primary School

“IS IT ART OR IS IT M AT H S O R I S I T B OT H ? ” Bentley Primary School: at the heart of a multi-cultural community on the brink of significant transformation with the State Government Department of Communities’ Bentley 360 redevelopment project.

With a high proportion of first-generation young migrant families living in the area, Bentley Primary is where many youngsters get their first experience of education in Australia. It’s a school with a dedicated staff doing important work, in sometimes challenging circumstances. Fifty-three per cent of students have a language background other than English, and 19 per cent are Indigenous. Many come from families that have some socio-economic disadvantage.

The teachers’ experiences have also reflected a change in overall attitude: “Students’ willingness to try something challenging is now so much better than before”. “Much more interesting questions are being asked”.

So while kids are learning, they are collaborating, behaving, and growing in confidence. Best of all, they are becoming a community, and families see the difference. One Year 3 parent, invited to a show and tell about the program conducted by the students, remarked on the change in his little boy:

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What’s special about the Creative Schools program is that these activities employ creative ways of teaching the curriculum; ways that make children solve problems using their imagination or by making things. Feedback from children so far seems to show that this program has been eagerly embraced: “We had fun and we learnt at the same time”. “We used our imagination more”. “We do lots of discovering!”

Parent of student, 2018.

Bentley Primary is one of the schools FORM has targeted for its pilot roll-out of the Creative Schools program.

During 2018, around 50 students from Years 1 to 4, along with their class teachers, have been experiencing this bold new approach to learning, partnering teachers with artists (who could be dancers, painters, musicians or writers) to deliver in-class learning activities that help children engage better with all subjects.

“ M Y S O N WA S P R O U D … R E A L LY HAPPY … I THINK I T W I L L S TAY W I T H H I M F O R A LO N G T I M E A F T E R T H I S .”

CREATI VE LEARNING WORKSHO P STATS IN

2018:

925 STUDENTS AT T E N D E D WORKSHOPS SCHOOLS AT T E N D E D WORKSHOPS SCHOOLS IN YEARLO N G C R E AT I V E SCHOOLS PROGRAM TEACHERS RECEIVED C R E AT I V E L E A R N I N G TRAINING

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A R T I S T S / C R E AT I V E S R E C E I V E D C R E AT I V E LEARNING TRAINING

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160 WEEKS ACCESS TO C R E AT I V E LEARNING WORKSHOPS AR - 2018

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AR - 2018 55 Creative Schools, Sand Animation Workshop, The Goods Shed. Photograph by Bewley Shaylor, 2018.

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Scribblers Festival of literature and arts for young people

57 Scribblers Festival, The Goods Shed.

Photograph by Taryn Hays,2018.

All good stories have to start somewhere … and many of them may have begun at the inaugural Scribblers Festival, held in Claremont from 9-13 May in 2018, and spreading out to the rest of the State through libraries involved in a literary treasure hunt, the Golden Feather.

In today’s increasingly fast-paced world, young people feel the burden of workloads just as keenly as adults, as they are shuttled off to sport practice and music lessons, race to finish their homework before dinner, and negotiate time on their devices. For five days in May, Scribblers invited young people and their families to put aside this race against the clock and to be present as words and stories took centre stage.

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The Festival – a new event – was conceived by FORM as a public celebration within the Creative Learning program, an opportunity for young people and their families to connect with the magic of storytelling and to awaken a lifelong love of literature and creativity.

The results were immediate, with the lightbulb turned on for many young Scribblers listening to the witty inventive poetry of A.F. Harrold; or watching master illustrator and Children’s Laureate Chris Riddell answer questions from his adoring audience, using drawings rather than words; or perhaps it was experiencing the hilarity of double meanings with self-confessed word nerd David Astle; or when Josie Boyle shared Dreamtime stories from one of the oldest cultures in the world as she drew in the sand.

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FORM’s ambition in creating Scribblers was to provide moments that would spark and sustain creativity and possibility, not just in youngsters, but also in their teachers and parents and carers. The impact of Scribblers was profound, with a demonstrated positive impact on children’s wellbeing, their writing, their motivation, perseverance and social connection, their aspirations and their attitudes to reading, writing, and drawing.

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“A B S O L U T E LY S E N S A T I O N A L LY AMAZING”

C R EAT IVE

There is robust research evidence linking reading for pleasure with improved academic outcomes, both in reading and writing, and a positive attitude towards reading demonstrably increases student motivation towards sustained learning. The positive impact of participating in Scribblers transferred successfully to classroom contexts and improvements were evident, and maintained a month later, in student writing skills, their visual literacy and creative thinking skills.

Improvements were evident in student motivation to act on the creative inspiration, to read more, write more, draw more, experiment more – and these creative pledges were being enacted and maintained in classroom contexts. Children also gained deep appreciation for the perseverance required to achieve creative success.

Students reported better peer relationships and the social interaction with authors and illustrators created an authentic learning experience, impacting positively on career aspirations.

Over 9 – 13 May, from The Goods Shed to the Library, Scotch College to the Tennis Club, the suburb of Claremont experienced a creative takeover by over twenty national and international authors and illustrators.

Close on 10,000 people, young and old, attended over the five days and joined in with the excitement and magic of making, telling, and hearing stories.

Thirty schools from the Perth metropolitan area booked more than 3000 students for three days of events dedicated to junior, middle and senior school students: sessions given by authors, Illustrators and artists, who presented on topics such as the writing process, themes and social issues, technique and structure, and drawing and illustration skills. Primary schools focused on illustration techniques, mindfulness and contemporary fiction, while secondary students discussed graphic novels, spoken word, memoirs and science. Everyone received a special Festival Passport & Field Notes, a space to record details of their day and creative ideas.

12 and 13 May was given over to a weekend of events for the whole family in a scattering of pop-up locations around The Goods Shed, including a special Mothers Day market, Festival bookshop and signings, young podcasters interviewing authors in the Conversation Caravan, free ‘drop-in’ activities, Book Doctors, the Scribblers Festival train conductor and roving Rainbow Unicorns on stilts.

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Scribblers Festival, Scotch College.

Photograph by Taryn Hays, 2018.

Scribblers gave children the chance to meet and learn from leading authors and poets and illustrators, and come away saying… I want to do that too.

New Scribblers initiatives for 2019 include the Golden Pen Awards, a writing competition open to all Western Australian high school-aged students, and The YA Collective: four sessions dedicated to Young Adult literature, curated and programmed with the assistance of four guest youth curators, Oscar, Summer, Eva and Jacki.

OFF THE PAGE In celebration of the inaugural Scribblers Festival, FORM and the Town of Claremont partnered to create Off the Page, an initiative of the Claremont Town Centre. Off the Page is a project that explores the partnering of artist’s works with local retail and hospitality businesses in the Claremont area to enliven the public realm through creativity. The project focus is on installations created from recycled paper and preloved books to tell visual stories that result in the creation of a diverse public exhibition. Artists were engaged through an EOI process which garnered submissions from a range of local and international artists.

Off the Page 2018 ran from 30 April – 12 May 2018, and encompassed the work of 10 artists (including two international residencies) and 11 participating businesses. The program included a public launch event and artist walkthrough covering the entire trail. In light of the success of 2018 program, Off the Page will return in May 2019.

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Two marquees hosted authors and illustrators discussing storytelling, illustration, artistic collaboration, poetry, historical fiction, comic books, music and science, and also gave writing, storytelling and illustration workshops.

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PA RT I CI PAT I N G P U BL I C L IBR A R I ES

K

A

KATANNING PUBLIC LIBRARY

ALBANY PUBLIC LIBRARY

11

ARMADALE PUBLIC LIBRARY AUGUSTA PUBLIC LIBRARY

JUN IO R P ODCASTE RS

AUSTRALIND PUBLIC LIBRARY B BASSENDEAN PUBLIC LIBRARY BINDOON PUBLIC LIBRARY BOLGART PUBLIC LIBRARY BOYA PUBLIC LIBRARY BROOKTON PUBLIC LIBRARY

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SESS IO NS O N C HIL DRE N’ S LITERATU RE AND VISUAL L ITE RACY

BROOMEHILL PUBLIC LIBRARY BULL CREEK PUBLIC LIBRARY BUNBURY PUBLIC LIBRARY BUSSELTON PUBLIC LIBRARY C CAMBRIDGE PUBLIC LIBRARY CANNING BRIDGE PUBLIC LIBRARY CARNARVON PUBLIC LIBRARY CALINGIRI PUBLIC LIBRARY CIVIC SQUARE LIBRARY CLAREMONT COMMUNITY HUB AND LIBRARY

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CLARKSON PUBLIC LIBRARY COLLIE PUBLIC LIBRARY COOLBELLUP PUBLIC LIBRARY D DAMPIER PUBLIC LIBRARY DARKAN PUBLIC LIBRARY DIANELLA PUBLIC LIBRARY

15

SP EC IAL IST C HIL DRE N’ S WORK S H O P S

DUNCRAIG PUBLIC LIBRARY DUNSBOROUGH PUBLIC LIBRARY E ESPERANCE PUBLIC LIBRARY F

KALAMUNDA LIBRARY KALBARRI PUBLIC LIBRARY KARRATHA PUBLIC LIBRARY KELLERBERRIN PUBLIC LIBRARY KELMSCOTT PUBLIC LIBRARY KOJONUP PUBLIC LIBRARY KWINANA PUBLIC LIBRARY L LAKELANDS PUBLIC LIBRARY LANCELIN PUBLIC LIBRARY LAVERTON PUBLIC LIBRARY LESMURDIE LIBRARY M MANDURAH PUBLIC LIBRARY MANJIMUP PUBLIC LIBRARY MANNING PUBLIC LIBRARY MARBLE BAR PUBLIC LIBRARY MARGARET RIVER LIBRARY MARY DAVIES LIBRARY AND COMMUNITY CENTRE MERREDIN PUBLIC LIBRARY MOGUMBER PUBLIC LIBRARY MOUNT CLAREMONT PUBLIC LIBRARY MUNDARING PUBLIC LIBRARY MUNDIJONG PUBLIC LIBRARY MURRAY PUBLIC LIBRARY N NARROGIN LIBRARY NEDLANDS PUBLIC LIBRARY NEWMAN COMMUNITY LIBRARY NEWDEGATE LIBRARY NORTHAMPTON PUBLIC LIBRARY NULLAGINE PUBLIC LIBRARY O ONSLOW PUBLIC LIBRARY P

FALCON PUBLIC LIBRARY

PANNAWONICA PUBLIC LIBRARY

FITZROY CROSSING PUBLIC LIBRARY

PARABURDOO PUBLIC LIBRARY PINGRUP CRC PUBLIC LIBRARY

FORRESTFIELD PUBLIC LIBRARY

PERTH CITY PUBLIC LIBRARY

FREMANTLE CITY LIBRARY

PORT HEDLAND PUBLIC LIBRARY

G

R

GERALDTON REGIONAL LIBRARY

ROCKINGHAM CENTRAL LIBRARY

10,000

GINGIN PUBLIC LIBRARY

ROEBOURNE PUBLIC LIBRARY

GIRRAWHEEN PUBLIC LIBRARY

RUTH FAULKNER PUBLIC LIBRARY

H

S

FEAT H E RS DIST RIB UTE D FROM E S P E RANC E TO PARAB U RDO O

HARVEY PUBLIC LIBRARY

SAFETY BAY PUBLIC LIBRARY

HIGH WYCOMBE LIBRARY

SEVILLE GROVE PUBLIC LIBRARY

HOPETOUN PUBLIC LIBRARY

SOUTH PERTH PUBLIC LIBRARY

J

SOUTH HEDLAND LIBRARY

JOONDALUP PUBLIC LIBRARY

SOUTHERN CROSS PUBLIC LIBRARY SPEARWOOD PUBLIC LIBRARY STATE LIBRARY OF WESTERN AUSTRALIA SUBIACO PUBLIC LIBRARY SUCCESS PUBLIC LIBRARY

T TAMBELLUP PUBLIC LIBRARY THE GROVE LIBRARY THREE SPRINGS PUBLIC LIBRARY TOM PRICE PUBLIC LIBRARY TOODYAY PUBLIC LIBRARY U USELESS LOOP PUBLIC LIBRARY V VICTORIA PARK PUBLIC LIBRARY W WAGIN PUBLIC LIBRARY WANNEROO PUBLIC LIBRARY WARNBRO COMMUNITY LIBRARY WESTONIA PUBLIC LIBRARY WHITFORD PUBLIC LIBRARY WILLAGEE LIBRARY WICKHAM PUBLIC LIBRARY WITHERS PUBLIC LIBRARY WONGAN HILLS PUBLIC LIBRARY WOODVALE PUBLIC LIBRARY

Golden Feather. Photograph by Katherine Dorrington, 2018.

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YANCHEP PUBLIC LIBRARY

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participating public librariesin Western Australia

AR - 2018 C R EAT IVE L EAR N IN G 63 Images Top to Bottom: A.F. Harrold, Scribblers Festival, Scotch College.

Photograph by Taryn Hays, 2018.

Podcasters interview author Jesse Andrews in the Conversation Caravan Scribblers Festival The Goods Shed.

Photograph by Taryn Hays, 2018.

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Katherine Dorrington - Festival Director

“WE SET OUT TO INSPIRE AND N U R T U R E A LOV E O F R E A D I N G I N Y O U N G P E O P L E , A N D A LO N G T H E WAY, W E D I D S O M E T H I N G E V E N B E T T E R — W E C R E AT E D M O M E N T S T H AT W O U L D T R A N S F O R M T H E L I V E S T H E Y T O U C H E D, B OT H Y O U N G A N D O L D.”

AR - 2018 65 Metamorphic Life, Ian Dowling, Karratha Health Campus. Photograph by Bewley Shaylor, 2018.

K A R R AT H A H E A LT H C A M P U S

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T O M P K I N S PA R K , C I T Y O F M E LV I L L E C I R Q U E A PA R T M E N T S , K I S H O R N R O A D, M O U N T P L E A S A N T WESTFIELD CAROUSEL M I D L A N D G AT E S H O P P I N G C E N T R E C A N B E R R A C I T Y R E N E WA L PRECINCT URBAN ART

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ART C O N S U LT A N C Y

FORM Art Consultancy Projects 2018

AR - 2018 ART C O N S U LTA N CY

Art Consultancy With over a decade of art consultancy services delivered across the State and nationally, FORM have amassed a diverse portfolio of projects. Our art consultancy team has delivered legacy public artworks, ephemeral activations and public art strategies within the Perth Metropolitan area, throughout our State, and across Australia that look to celebrate and to advance the authentic narratives of cities, precincts and individual places.

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Our capacity to provide exemplary art consultancy services is strengthened by FORM’s organisation-wide programming, resulting in project outcomes that are innovative, contemporary, and that support the State’s arts and cultural sector. In 2018, as in past years, we have taken every opportunity to diversify and evolve our art consultancy services, to bring increased value to the artists, audiences, clients, and communities in the places we work in.

FORM’s art consultancy team seek to facilitate and deliver services and projects of artistic excellence that are connected and connective. At the core of our art consultancy, we strive to facilitate innovative partnerships between artists, communities, and stakeholders, to enable outcomes that are mutually relevant, authentic, and enduring.

M I D L A N D, Chris Nixon, Midland Gate Shopping Centre. Photograph by Taryn Hays, 2018.

The evidence of FORM’s ability to deliver exemplary and diverse art consultancy services has manifested in 2018 in several ways: •

The breadth, strategy and scale of the public artworks that FORM commission and scope as art consultants for landmark construction projects (which in 2017 included Optus Stadium and Crown Towers, and in 2018 include the projects detailed later in this section).

•

The calibre of artists FORM is able to attract to tender for public art opportunities locally, nationally and internationally.

•

The range of local artists’ practices―emerging and established―in a diverse talent pool FORM is able to draw from.

•

The way in which FORM is able to guide artists in the development of public art installations and interventions in ways which capture the authentic distinctiveness of places.

FORM’s reputation for managing public art procurement and strategy, from concept to delivery, has attracted a diversity of projects to our public art portfolio across a decade of practice. Our experience has opened up avenues to develop ground-breaking city-wide strategies, such as the Canberra City Renewal Precinct Urban Art Strategy. This is the first strategy in Australia that has specifically focussed on the ways that public art can extend beyond visual arts to encompass the entire spectrum of the arts and be intrinsically tied to the ongoing evolution and renewal of a city/urban environment.

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TOTA L

BUD G E T

$2,264,500 TOTA L

A RTWO RK S

P RO C URE D

37

TOTA L

A RT I STS

E N GAGED

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AR - 2018 C O N S U LTA N CY

Ian Dowling, 2018.

ART

“ PAT T E R N S F O R M E D… A R E T H E N W E AT H E R E D I N T O N E W S H A P E S A N D M AT E R I A L S T H AT D E F I N E T H E N AT U R E O F T H E P L AC E .”

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KARRATHA HEALTH CAMPUS “The quality of care, the facilities, the art - everything that’s on offer here is truly magnificent.” So said Premier Mark McGowan, opening the Karratha Health Campus in October 2018, concluding a State Government project that began in 2017. Thanks to the Percent for Art scheme, over fifty pieces from sculptures, wayfinding signage, murals and Aboriginal artwork are now onsite across the campus, showcasing the talent of Western Australia’s Aboriginal and Torres Strait Islander and non-Indigenous artists, and celebrating the landscape, history and heritage of the region. FORM managed the art strategy, procurement, fabrication and installation of the art.

Client: Brookfield Multiplex Cooper and Oxley KHC JV

Images left to right: Jirrijirri and the Burrup Flame, Sohan Ariel Hayes, Karratha Health Campus. Photograph by Bewley Shaylor, 2018.

A Differing Perspective (detail), Leanne Bray, Karratha Health Campus. Photograph by Bewley Shaylor, 2018.

Efflorescence, Simon Gilby, Karratha Health Campus. Photograph by Felicity Ford, 2018.

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A RT WO RKS

33

A RT ISTS E NGAG E D IN TOTAL

20

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A RT ISTS FRO M KARRATH A RE G IO N

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P U A RT B L CI C O NASRUT L T A N C Y

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KISHORN ROAD, MOUNT PLEASANT Light artist James Tapscott’s artwork Chroma Flow will draw people through an underpass to a new high-rise, the Cirque Apartments, in an area of Mount Pleasant that is being redeveloped and reimagined as a vibrant hub.

Currently the artwork lays dormant, gently pulsing with tonal references to the surrounding rivers and Perth skies.

When completed, the 80 metre-long artwork―Perthborn Tapscott’s first incorporating both colour and realtime interactivity―will light up the entire length of the underpass. All phases, from commission to delivery, are being managed by FORM. Client: Stirling Capital

FORM started working with the City of Melville in April 2018, developing an art strategy for the proposed Tompkins Park development which will result in a large artwork on a wall of the function centre, Tompkins on Swan. The artist, Zimbabwean-born, Western Australiabased Leanne Bray is using Melville’s proximity to the river and the Lucky Bay foreshore as her key inspiration. Design development and fabrication continues into 2019, with proposed delivery in 2020.

All phases are being managed by FORM.

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TOMPKINS PARK, CITY OF MELVILLE

Chroma Flow, James Tapscott, Cirque Apartments.

Photograph by Taryn Hays, 2019.

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Client: City of Melville

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MIDLAND GATE SHOPPING CENTRE REDEVELOPMENT

C O N S U LTA N CY

Two eye-catching walls, one by Western Australian artist Chris Nixon, and the other by Brad Eastman (NSW/Indonesia) are now in situ at Midland Gate Shopping Centre. M I D L A N D is one of Nixon’s largest murals to date and the first to integrate sculptural elements and lighting. Nixon collaborated with lighting artist Steve Berrick for the three-setting feature of the artwork, which cycles through ‘Glow’, ‘Night Sky’ & ‘Constellations’ every evening. Eastman (otherwise known as Beastman) has created Elemental in collaboration with Deep Green Landscaping and project builders Doric. This unique wall-piece incorporates elements of sculpture, lighting, planting and painted mural to create a sophisticated mixed media outcome. It references nature, flowing rivers, red earth, historic paths, industrialisation, railway and urbanisation: the story of Midland. All phases, from the initial art strategy to delivery, were managed by FORM. Client: Vicinity Centres PM Pty Ltd

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WESTFIELD CAROUSEL REDEVELOPMENT

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Johannes (Harry) Pannekoek is an established Western Australian artist and sculptor who works primarily in metals to produce artfully engineered sculptures, often based on a swirling design. In 2018, in a process managed by FORM, Pannekoek completed a towering stand-alone entrance statement for the Westfield Carousel Redevelopment. To symbolise the multiculturalism of the Canning area, the artwork celebrates the meeting of difference with the graceful entwining of two contrasting steels, one of which will weather, while the other slowly darkens.

Client: Scentre Group Pty Ltd

CANBERRA CITY RENEWAL PRECINCT: URBAN ART STRATEGY

Client: City Renewal Authority Canberra

M I D L A N D, Chris Nixon, Midland Gate Shopping Centre. Photograph by Taryn Hays, 2018.

Elemental, Brad Eastman (Beastman), Midland Gate Shopping Centre. Photograph by Taryn Hays, 2018.

Coalescence, Johannes Pannekoek, Westfield Carousel Redevelopment. Photograph by Taryn Hays, 2019.

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In 2018 the City Renewal Authority in Canberra engaged FORM to prepare a five year public art strategy for the urban heart of the national capital, with the aim of providing a blueprint for future urban art in the area, harnessing the entire spectrum of the arts. This is the first city-wide strategy that FORM has delivered nationally.

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ENUES & XHIBITION

AR - 2018 GLORIA Exhibition opening, The Goods Shed.

Photograph by Taryn Hays, 2018.

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AR - 2018 VEN U ES & EX H IBIT IO N S

The Goods Shed

VISITORS TO THE GOODS SHED

72,577 1 - INTERNATIONAL ARTISTS 19 - AUSTRALIAN ARTISTS 18 - ABORIGINAL ARTISTS

20

TOTA L A R T I S T S EXHIBITED 2018

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West Coast Bake, The Goods Shed.

Photograph by Taryn Hays, 2018.

The impact of the international residencies which begin their engagement at The Goods Shed can be seen across the State, from the work of creative learning experts Paul Collard, Paul Gorman, and Bill Lucas to city-making authority Charles Landry to workshops by artists like Stuart Frost and exhibitions of the work of Bruce Munro.

Our programming at The Goods Shed is curated to include participation from a diverse cross-section of collaborators: local community groups and schools, regional communities, Western Australian and visiting artists, and international speakers from a range of creative disciplines. Comprising of exhibitions, creative residencies, workshops, public and education programming, the space builds the reputation of the Claremont precinct as an evolving site for ideas, innovation and energy.

The space offers a new model for visual arts programming in Western Australia, and a creative lab where visiting artists can develop and premiere new and experimental work in direct conversation with both metropolitan and regional audiences. Invited artists represent a mix of local, interstate and international practitioners. Working in tandem with communities, creatives engaged through The Goods Shed develop works that express distinctive social and geographical identities.

The space was also host to a series of experts in residence. In July, city-making authority Charles Landry gave a series of presentations at The Goods Shed on creative bureaucracy and civic cities. Paul Collard, the CEO of Creativity, Culture and Education, was in residency twice with FORM during 2018, for a month in February and March, and again in October. Professor Bill Lucas, a professor at the University of Winchester and cochair of the OECD’s Programme for International Student Assessment 2021 test for Creative Thinking, current advisor to the Victorian Government on education reform, and author of respected texts Teaching Creative Thinking and Educating Ruby, co-presented with Paul Collard to school principals and teachers on latest research regarding the benefits of releasing creative potential in the classroom. Paul Gorman of Glasgow-based Hidden Giants brought his distinctive brand of anarchy back to The Goods Shed during March and October. Between the three of them a series of workshops on creative learning and education.

From bake sales, to workshops on yubiyami, print making or sand animation, through panels, gatherings of special interest groups, philanthropist dinners and exhibition openings, to high profile, multiple day events like Scribblers Festival; The Goods Shed has also been a warm and welcoming space for all manner of events and social gatherings.

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The Goods Shed is the hub of FORM’s programming, offering public engagement with outcomes of our Statewide and international residencies. Signature programs like Scribblers Festival of literature and arts for young people, exhibitions and residencies by internationally acclaimed artists and designers, and a highly successful Creative Learning program, has formed a community of thousands around The Goods Shed.

The Goods Shed’s exhibition program for 2018 was launched in February with the opening of Gloria, the debut solo exhibition by a contemporary Pilbara Aboriginal artist whose work has been drawing critical attention across the State in2018. It was followed in July by collaborative exhibition Pujiman, uniting artists from two of the Pilbara’s most dynamic Aboriginal art centres, Spinifex Hill Studios and Martumili. This exhibition was opened by Ben Wyatt MLA, State Treasurer and Minister for Aboriginal Affairs and Edgar Basto, BHP Asset President Western Australia Iron Ore with a Welcome to Country by Barry McGuire.

FORM’s final exhibition for 2018, Catching the Light, was presented in partnership with the Bruce Munro Studio.

A photographic record of the artist’s work from all over the world, the exhibition was timed to coincide with the October 2018 opening of Field of Light: Avenue of Honour. Comprising 3000 bright yellow fish, 99 white octopus which symbolise the 99 names for Allah in Islam, intricate reefs of coral islands made from 100 individual crochet pieces, and a rainbow octopod of Indonesian artist Mulyana’s signature Mogus: The Goods Shed’s first exhibition of 2019, Mulyana - A Man, A Monster & The Sea, was launched in March by creative learning expert Paul Collard alongside the Scribblers Festival Family Program.

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In 2016, FORM restored The Goods Shed, one of Western Australia’s oldest surviving railway buildings, and transformed it into a lively space for creative and community amenity. The building, which is right next to Claremont Train Station, was refurbished through a partnership with LandCorp for the Claremont on the Park project with the aim of creating a significant cultural center for LandCorp’s emerging Claremont on the Park community. Three years on, the space has become a significant cultural and community hub encompassing a gallery, studio, conference venue, education facility, coffee pod, and garden, and providing a rich resource for learning, exchange and creative development.

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VEN U ES

&

EX H IBIT IO N S

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Gloria exhibition

Hedland-based artist Gloria’s first solo show introduced a truly exciting Western Australian contemporary abstract artist to Perth audiences at The Goods Shed. Born in Jigalong in 1975, Gloria is a Martu woman now working out of the Spinifex Hill Studios in South Hedland.

Untitled, Gloria. Photograph courtesy of Spinifex Hill Studios, 2018.

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An acrylic painter within a powerful matriarchal tradition that emerged in the Western Desert in the early 2000s, Gloria’s loose brushwork and pastel palettes have attracted critical attention for their highly affecting presence. The artist came to Perth for the opening of her show. The Gloria public program focused on colour theory.

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An artist with cerebral palsy and limited eyesight, Gloria was awarded the Aboriginal and Torres Strait Islander Award for the 2017 ‘As We Are’ Art Awards, which recognises Western Australian artists with an intellectual disability.

AR - 2018 VEN U ES

Pujiman

&

exhibition

EX H IBIT IO N S

Before there was paint, there was earth. Before there was canvas there was sand. Pujiman united artists from two Pilbara Aboriginal art centres, sharing knowledge between senior pujiman or ‘bush dwelling’ artists and younger practitioners. The collaboration brings their powerful, distinctive culture to the rest of the country in the mediums of animation, filmmaking, photography, drawing and acrylic painting. Projects like Pujiman don’t just share the Pilbara’s Indigenous culture with rest of the country, they also propel the creative development and career opportunities of younger artists and lay the foundations for long term, continuous partnerships between regional art centres.

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State Treasurer and Minister for Aboriginal Affairs Ben Wyatt MLA opened this major collaboration, the culmination of a two-year project from two of the Pilbara’s most dynamic Aboriginal art centres: Spinifex Hill Studios and Martumili.

Featuring sand animation, film, drawing and acrylic painting, Pujiman showed the extraordinary energy and variety of contemporary Indigenous arts practice as it is today: the work of emerging artists responding to and informed by the knowledge and example of their seniors. Artists from both art centres graced the opening at The Goods Shed, at which Edgar Basto, BHP Asset President of Western Australia Iron Ore also spoke.

The Pujiman public program featured sand animation workshops in which participants learned how to tell stories in sand with the help of time lapse video.

Though having already largely sold out during its Pilbara showings, a handful of remaining exhibition works sold at the exibition’s showing at The Goods Shed, alongside numerous unstretched canvasses from both art centres.

Additionally, a number of exhibiting artists from both art centres assisted with the installation of the show, and attended the opening night, meaning that the project has continued to provide ongoing financial and professional opportunities for the participating Aboriginal artists.

Pujiman has been accepted into the touring program of the State’s exhibitions touring authority ART ON THE MOVE, and has now begun its Western Australian tour, to run through until 2021.

82 Pujiman Exhibition opening, The Goods Shed.

Photograph by Taryn Hays, 2018.

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Untitled, Bugai Whyoulter and Jakayu Biljabu.

Photograph courtesy of Spinifex Hill Studio and Martumili Artists, 2017.

AR - 2018 83 Kartarru, Jakayu Biljabu. Photograph courtesy of Spinifex Hill Studio and Martumili Artists, 2017.

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AR - 2018 VEN U ES & EX H IBIT IO N S 85

Catching the Light: A photographic exhibition of artworks in light by Bruce Munro

From Atlanta to Albany, Arizona to Uluru, light has been the material for Bruce Munro’s art in a career spanning over three decades. In October 2018, FORM, in partnership with the Bruce Munro Studio, presented a photographic record of the artist’s work from all over the world, captured through photographs

by Munro’s long-term collaborator, Mark Pickthall.

The exhibition at The Goods Shed was timed to coincide with the opening of Field of Light: Avenue of Honour, Munro’s latest installation, (see page 20) only the second ever in Australia. It was commissioned by FORM and the City of Albany to commemorate the Anzacs and 100 years since the end of World War One . This haunting installation of tens of thousands of lights remains on Mount Clarence in Albany Heritage Park until Anzac Day 2019.

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86 Images left to right: Catching the Light exhibition opening.

Photograph by Taryn Hays, 2018.

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Field of Light, Uluru, Australia. Photograph by Mark Pickthall.

Photograph courtesy of Bruce Munro Studios, 2016.

AR - 2018 VEN U ES & EX H IBIT IO N S

FORM Gallery In 2018, before closing the doors of its Murray Street gallery in order to consolidate operations and staff at its HQ in Claremont, FORM staged two hauntingly beautiful exhibitions at FORM Gallery, inspired by the landscape, people and Indigenous culture of Western Australia.

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In April, Perth-born, Netherlands-based visual artist Pilar Mata Dupont concluded her two-year FORM collaboration with a breathtaking presentation called Undesirable Bodies, about the legacies of colonisation. Sacred to the Yindjibarndi people, Jirndawurrunha is in a hauntingly beautiful part of the Pilbara’s Millstream Chichester National Park, yet it has been threatened with an overgrowth of weeds brought in by early settlers, and now by an overgrowth of visitors in the twenty-first century. Via photographs and video, Dupont’s work, exhibited as part of the 2018 Perth Festival, explored the balance between invasion and conservation. The Art Gallery of Western Australia acquired the centrepiece of the exhibition, the 16-minute film Undesirable Bodies.

In June, DREAM MINE TIME delved into the many different interpretations of Aboriginal “dreamtime” through the canvases, sculptures, films and words of some of the State’s most significant Indigenous contemporary artists: from Geraldton, Charmaine Green (Yamaji Arts); from the Kimberley, Mabel Juli, Nancy Nodea, Gabriel Nodea and the late Phyllis Thomas (Warmun Art Centre) and Ben Ward (Waringarri Aboriginal Arts); from the Pilbara, Clifton Mack (Yinjaa-Barni Arts); Billy Yunkurra Atkins (Martumili Artists); Victor Burton and the late Nyapuru (William) Gardiner (Spinifex Hill Artists); Polly Pawuya Butler-Jackson, Judith Yinyika Chambers and Eunice Yunurupa Porter from Warakurna Artists, and Curtis Taylor from Perth. DREAM MINE TIME showed how, as curator Kate Alida Mullen describes, dreamtime cannot be seen “as something that is mythological, or in the past or sleeping, it is very much a present, living, breathing reality on this country.”

Eleven of the fourteen artists in show sold newly commissioned or recent artworks, with Gabriel Nodea’s large ochre painting Doomeruny (2012) being acquired by the Janet Homes a Court Collection and Charmaine Green’s iron ore dust animation, Dream Mine Time Animals (2018), acquired by the New Museum of Western Australia.

88 DREAM M INE TIME Exhibition opening, FORM Gallery. Photograph by Taryn Hays, 2018.

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Undesirable Bodies Exhibition opening, FORM Gallery. Photograph by Taryn Hays, 2018.

AR - 2018 RISE portraits. Photographs by Rebecca Dagnall, courtesy of BHP, 2018.

NAIDOC WEEK Location: Brookfield Place

RISE

RISE was an exhibition of thirty photographic portraits celebrating the 2018 NAIDOC week theme, ‘Because of her, we can’. It was curated

by FORM with BHP’s department of Community & Indigenous Affairs – Operations Australia.

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Celebrating BHP’s Indigenous Female Workforce

Acclaimed Western Australian photographer Rebecca Dagnall was invited to travel to BHP’s major operational sites in Perth, Newman, and Port Hedland, to take portraits of Aboriginal women―BHP employees―nominated for the leadership they display.

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The exhibition showed in the foyer of BHP’s metropolitan headquarters at Brookfield Place throughout NAIDOC week in July 2018.

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Port Hedland Visitor Centre FORM has managed the Visitor centre in Port Hedland since December 2012. This vital asset to the community has become a key information point, not just for visitors to Hedland but also those travelling the wider Pilbara. The numbers of people dropping into the centre, communicating with the staff via email, phone and social media has increased exponentially year on year.

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2018 was a very busy year for the Visitor Centre: nearly 30,000 customers walked through the doors, and nearly 3,000 people participated in tours around the town and BHP facilities. But the Visitor Centre’s social media reach blew all records during 2018, with 50,000 people on average connecting via the Facebook page each quarter, making a total of around 200,000 online subscribers and visitors.

As usual, FORM’s priority has been to deliver the most helpful and informative service, working with local providers and special interest groups to ensure visitor experiences are offering the best results and value for money. Adding an earlymorning option to the walking tours around Port Hedland’s historical sites, for example, proved a hit for customers, and the cruise ship business made good use of the facilities.

West End Markets, Port Hedland.

Photograph by Bewley Shaylor, 2018.

“A G R E AT P L AC E T O S TA R T. T H E V I S I T O R C E N T R E I S W E L L- E Q U I P P E D WITH EVERYTHING YOU NEED TO MAKE THE MOST OF A VISIT TO P O R T H E D L A N D. I N A D D I T I O N T O T O U R I S M I N F O R M AT I O N T H E R E I S A FA B U LO U S C O L L E C T I O N O F G I F T / S O U V E N I R I T E M S I N C LU D I N G LO C A L LY P R I N T E D T E X T I L E S , CERAMIC WEAR, JEWELLERY AND T H E L I K E .”

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Survey respondent, NSW.

2018 Hedland Art Awards Exhibiton opening, Port Hedland Courthouse Gallery. Photograph by Taryn Hays, 2018.

Port Hedland Courthouse Gallery The work of a huge range of artists graced the walls and spaces of Port Hedland Courthouse Gallery during 2018, continuing the Gallery’s reputation for staging an eclectic exhibition program. Yet despite different art forms, practices and perspectives, all of these artists were united in sharing a view of ‘their’ Pilbara, whatever that Pilbara might be: home, artistic material, ephemeral inspiration, collaborative experience.

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“A M A Z I N G W O R K AND EXHIBITION. V I D E O WA S G R E AT. G A L L E R Y I S LOV E LY, S TA F F H E L P F U L ! ”

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Exhibitions

& EX H IBIT IO N S

Up at the Port Hedland Courthouse Gallery, the 2018 exhibition program kicked off with Pujiman, the collaboration between Martumili Artists and Spinifex Hill Artists which later transferred to The Goods Shed.

Complementing Pujiman, which ran from February to April, was Learn Me, the first solo exhibition by Pilbara artist Ruth Leigh: a series of oil on linen portraits of Martumili and Spinifex Hill artists.

From May to July, the Gallery hosted three concurrent exhibitions, offering startlingly different takes on the rugged yet sublime Pilbara landscape. BUILDED REMNANTS showcased newly-commissioned work resulting from Dutch artist Berndnaut Smilde’s FORM residency in Perth, and the Pilbara and South West regions during 2016: a strikingly different perspective on wide horizons, fabricated weather systems and heritage architecture, captured in photography and sculpture.

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In Konversation, two Port Hedland artists Nicole Leuchter and Janelle McCaffrey collaborated to produce single works on canvas and paper: a melange of ink and acrylic paint that married the broad expressive gestures of Leuchter’s abstract work with the detailed finery of McCaffrey’s ink landscapes.

In Blue Town, local photographer Craig Rowles engaged with one of the most contentious sites in the Pilbara, the former asbestos mining town of Wittenoom, degazetted in 2007. Expecting to find a boarded up and ruined town, Rowles instead found both evidence of a deadly history and a surprising beauty. The photographs that resulted reference this confounding of expectations, putting the viewer in a state of pleasurable undecidability.

The next trio of exhibitions, National Trust, Somewhere Here Now, and Spirit of the Pen were linked by their connections to Hedland Senior High School. They ran from July to September.

In National Trust, artist Gian Manik showed the centrepiece of his 2017 residency in the Pilbara, an experimental collaboration with 53 Hedland Senior High School students (ranging from years 8-12). Manik mentored the students in painting technique, and encouraged them to sketch and paint details of the South Hedland landscape on to a 10-metre long canvas. This was then over-painted by the artist with his own impressions of the town. The resulting monumental collaborative artwork signified an exciting new direction in Manik’s practice: a chaotic, layered aesthetic combining diverse mark-making and humorous juxtaposition. A series of striking solo works and a further collaboration with nine Hedland Senior High School students undertaken during the week leading up to the exhibition opening complemented Manik’s 2017 collaboration.

Somewhere Here Now premiered new work by South Hedland’s Michelle Sicilliano in her first solo exhibition since moving to the Pilbara four years ago. An art teacher at Hedland Senior High School, Siciliano was one of the teachers involved in Manik’s collaboration during early 2017. Her own exhibition work used found object from road trips across the Pilbara, embellished with a range of textiles techniques.

Howard Holder presented his first solo exhibition, Spirit of the Pen. Born and raised in Port Hedland, Holder attended Hedland Senior High School during the 2000s and has since become well-known as a frequent prize winner in the annual Cossack Art Award and Hedland Art Awards. Working predominantly in acrylic paint, fine-liner pen, and pencil, Holder is inspired by the Pilbara’s natural and industrial landscapes, as well as sci-fi movies, video games, social media, books, music, and subconscious thoughts.

94 National Trust exhibition installation, Port Hedland Courthouse Gallery.

Photograph by Rebecca Dagnall, 2018.

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Diary, Gian Manik and Hedland Senior High School students, Port Hedland Courthouse Gallery. Photograph by Rebecca Dagnall, 2018.

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2018 was rounded off by the annual Hedland Art Awards, one of the richest and most prestigious non-acquisitive regional art awards in Australia, providing exhibitors with exposure to a national audience, and giving new and upcoming artists opportunities to develop and showcase their work. The 2018 judges were visual artist Cathy Blanchflower, UWA Chief Cultural Officer Professor Ted Snell, and Nici Cumpston, Artistic Director of TARNANTHI Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia.

FORM Regional Curator Andrew Nicholls said FORM was absolutely delighted by the calibre of entries received for the 2018 Hedland Art Award.

Places of Ngagoorroon, Patrick Mung Mung, Most Outstanding Work winner, 2018 Hedland Art Awards.

Photograph by Bewley Shaylor, 2018.

AWA RD $6,000 $8,000

$7,000

WINNERS $4,000

$3,000

$2,000

$1,000

MOST OUTSTANDING WORK

PEOPLE’S CHOICE AWARD

ENCOURAGEMENT AWARD

YOUTH AWARD (UNDER 25)

BEST SCULPTURAL WORK

BEST WORK IN A MEDIUM OTHER THAN PAINTING

KATHY DONNELLY AWARD Travis Lilley – New Beginning

Layne Dhu Dickie – Life in the Pilbara

Roma Nyutangkta Butler – Nyukali

Nancy Nyanjilpayi Chapman – Kalaru

Roderick Sprigg – Agnus Dei

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$9,000

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A RT

$5,000

Corban Clause Williams – Canning Stock Route

HED LA ND $10,000

Michelle Siciliano – Port Island

2018 $15,000

Nyarapayi Giles – Warmurrungu

$20,000

BEST WORK BY A NON-INDIGENOUS ARTIST

$25,000

BEST WORK BY AN INDIGENOUS ARTIST

$30,000 Patrick Mung Mung Places of Ngagoorroon

AR - 2018 VEN U ES & EX H IBIT IO N S 97 Pujiman camp at Punmu. Photograph courtesy of Spinifex Hill Studio and Martumili Artists, 2017.

Since opening the Spinifex Hill Studios in 2014 with the support of BHP, the Spinifex Hill Artists have made phenomenal advancements across all aspects of their operations. With dramatic increases in artist membership, artwork sales and artwork quality, the Spinifex Hill Artists have earned a reputation as a fresh contemporary arts collective with strong connections to indigenous cultures.

Perth in August 2018 that will continue until 2021. This has also been a significant project for building the esteem and confidence of artists, several of whom have now presented the project to audiences large (Desert Mob Symposium in Alice Springs and the Pilbara Creative and Cultural Forum in Newman), and have experienced media interest with interviews in print, radio, television and online platforms.

The reputation and visibility of the Spinifex Hill Artists on the domestic markets have dramatically improved since 2015, and this reporting period saw further advancements.

In this reporting period studio management is particularly pleased to announce that artist happiness, esteem and membership is at an all-time high with an average of fifteen artists painting each day. FORM and the artist group are also proud to reveal that in August the investment was made to expand studio staff to include a third-full time employee and two (indigenous) Arts Workers. With a stable and trusted management and a dedicated core group of artists, this staffing increase will help build the capacity of the studios to continue excelling in 2019 and beyond.

The Spinifex Hill Artists are deeply committed to building the cultural and artistic reputation of the Pilbara region.

This is best illustrated by Pujiman, a major collaboration with Martumili Artists, which kicked off a state tour in

During 2018 artwork from Spinifex Hill Studios was acquired by major institutions including the Art Gallery of South Australia, the Museum and Art Gallery of Northern Territory and Charles Darwin University. The artist group also earned an impressive spike in artwork sales, an increase of 51% from the previous year.

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The artist group was represented at national art fairs (11th Darwin Aboriginal Art Fair, Desert Mob in Alice Springs and TARNANTHI 2018 in Adelaide), exhibitions in Perth, Darwin, Adelaide, Hobart and the Mornington Peninsula, and also in major prizes including the 35th NATSIA Awards, the Black Swan Prize for Portraiture, and the Paddington Art Prize (Sydney).

The 2019 exhibition calendar includes Singapore, Italy, Luxembourg and the United States of America as well as exhibitions within Australia.

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Spinifex Hill Studios and Artists

AR - 2018 99 Karlamilyi, Big Country, Big Area, Wokka Taylor and Nancy Karnu Taylor (dec.). Photograph courtesy of Martumili Artists, 2017.

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Spinifex Hill Studios loses respected artist The late Nyaparu (William) Gardiner (19432018) was one of Spinifex Hill’s most prolific, successful and respected artists.

The Art Gallery of Western Australia, Curtin University and Flinders University collections have all acquired his art.

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He was a Hedland Art Award winner (2015, 2016, and 2017), finalist in the 44th Muswellbrook Art Prize (2017), the inaugural Hadley Art Prize (2017), and the TARNANTHI Festival at the Art Gallery of South Australia (2017). Nyaparu (William) Gardiner participated in the following exhibitions and awards during 2018:

PUJIMAN

Spinifex Hill Artists and Martumili Artists, (touring exhibition) WA (touring until 2020)

GOOD ENOUGH!

The Art of Spinifex Hill Artists - Paul Johnstone Gallery, Darwin, NT (March)

STOCKMAN, STRIKERS AND SUNDOWN Vivien Anderson Gallery, VIC (June)

DREAM MINE TIME

FORM Gallery, Perth (June)

COSSACK ART AWARD, PORTRAIT AWARD Cossack, WA (August)

35TH TELSTRA NATSIAA

Museum and Art Gallery Northern Territory, NT (August)

BLACK SWAN PORTRAIT PRIZE FINALIST Perth, WA (November)

PADDINGTON ART PRIZE FINALIST Sydney, NSW (October)

FAREWE

102 Clancy Doherty, Nyaparu (William) Gardiner (dec). Photograph courtesy of Spinifex Hill Studios, 2017.

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LL

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Port Hedland’s West End Markets Held four times a year in the Courthouse Gallery Gardens, the West End Markets support designers, makers, artists and provedores from all over the Pilbara.

Running in May, June, August, and October since FORM started them in 2010 in the Courthouse Gallery gardens and surrounds, these markets consistently draw big crowds with guest DJs and performers, family-friendly attractions, a sundowner bar and a festival atmosphere.

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During 2018 FORM trialled a number of new activities― enthusiastically received―aimed at enhancing the market atmosphere, and allowing stall holders to maximise their opportunities. These included a guest DJ from Perth, earlier opening hours to reflect the peak sales rush before sunset, and a new location and a later closing time for the bar.

Other community-oriented activities during 2018 included a ‘shop and sip’ retail event, a mothers’ morning, an interactive Virtual Reality activity, the ever-popular Art After Dark sessions with exhibiting artists, Creative Business Development workshops for designer-makers, and Creative Education sessions involving local schools and children. The Gallery hosted workshops in painting, beading, colour theory and watercolour, plus an ‘Art Lab’ in painting and sculpture, for artists entering the 2018 Hedland Art Awards.

West End Markets, Port Hedland. Photographs

by Bewley Shaylor and Taryn Hays, 2018.

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AR - 2018 105 Artist Pilar Mata Dupont during regional Residency. Photograph by Bewley Shaylor, 2017.

RES

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IDENCIES

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International Expert and Artist Residencies What effect does an unfamiliar environment have on artistic practice? Can an artist show the people of a place something new about their home? Can an expert in learning methods or place making help people invest in and take ownership of positive change? For years now, FORM’s residency program has been exploring these questions by introducing creative practitioners from all over the world to Perth and regional Western Australia, and embedding them for a number of weeks in the communities and landscapes of the city, the Pilbara or the Great Southern.

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FORM takes pride in connecting these exceptionally talented local, national, and international artists with Western Australia’s diverse communities and regional landscapes. We are well aware that our State’s infamous geographical isolation brings with it the opportunity to offer artists completely unique experiences in remote parts of the world they may not otherwise ever have reason to visit, and the Pilbara, with its richly diverse communities, awe-inspiring landscape and distinctive industrial profile proves an ongoing source of creative inspiration to artists from across the world.

While the artists and experts use the residency experience to nourish and develop their area of expertise, host communities in return often experience a richer and more complex understanding of place, by seeing their town or region reflected back to them through an unfamiliar lens. The residencies build global connections and local collaborations within oftenisolated locales.

For example, our Pilbara residency program is curated to engage artists who employ community collaboration in their practice, or who are capable and experienced in sharing creative skills via the delivery of workshops

or masterclasses. If appropriate, artists are encouraged and facilitated to directly collaborate with local community members in the production of their works.

This exposes the region’s communities to best practice at an international level, and builds global connections within often-isolated locales. Furthermore, it is intended to foster a richer and more complex understanding of place for residents, by seeing their town or region reflected back to them through an unfamiliar creative lens.

We have found that this sustained engagement, established over more than a decade, has allowed us to forge a close relationship with the Pilbara’s diverse communities, allowing for a greater level of mutual trust and reciprocity. This means that the level of creative risk, critique, and diversity of practice that we are able to draw upon has grown over time: host communities are comfortable to provide visiting artists with increasing access, and more scope to take risks, allowing a space for greater aesthetic and conceptual complexity.

FORM welcomed a total of eight experts and artists in residence during 2018. Three experts focused on the impact that creativity can have on classroom dynamics, and learning and teaching methods, one well-known expert returned to Western Australia to find out whether, over a decade on, Perth was a city that still said ‘no’ and four major artists engaged with the Western Australian landscape and history to produce arresting artistic outcomes.

Artist Pilar Mata Dupont during regional Residency. Photograph courtesy of FORM, 2017.

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Stuart Frost Artist

FORM hosted Norway-based, UK-born environmental artist Stuart Frost’s first Western Australian residency from February through to April. Frost spent time in locations across the Great Southern and also across the Pilbara, allowing the theatre of several different regional landscapes to inspire the development of a new body of work. He gave several public talks in Albany, Port Hedland and in The Goods Shed, detailing his responses to Western Australia’s scale and wildness. Artistic outcomes included a series of maquette artworks made from Grasstree resin, found organic material; a paperbark bed sculpture, burnt with custom tools in pattern created while on residency in Torbay/Albany; a jarrah timber burl embossed with iconic ‘doublegee’ prickle patterns while on residency in Torbay/Albany; and a temporary intervention on termite mounds outside of Port Hedland. Doublegees is currently on display in Albany Visitor Centre.

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Pilar Mata Dupont Artist

Perth-born, Netherlands-based visual artist Pilar Mata Dupont concluded her two-year collaboration with FORM with a breathtaking presentation about the legacies of colonisation focused on Jirndawurrunha, a hauntingly beautiful part of the Pilbara’s Millstream Chichester National Park. Speaking of her residency and the effect on her art, Dupont said: “This line of access into the Yindjibarndi community, and working with FORM has deeply enriched my project and my practice. I found the day I gathered the most new information and insight was the incredible day I spent with [Aboriginal guides] exploring MillstreamChichester. We were given insight into the history of the area, and were also taken to spaces not normally shown on tours.” The resulting video and photography-based exhibition, Undesirable Bodies, was showcased at FORM Gallery in Perth in February 2018 as part of Perth Festival.

One of FORM’s landmark projects of 2018 came to fruition with the conclusion of UK artist Bruce Munro’s residency. Field of Light: Avenue of Honour, a moving and immersive installation of lights under the memorial trees in Albany’s heritage park commemorates the Anzacs, and marks the century since the cessation of World War One (see pg.28-33). During 2018, Munro visited Western Australia twice, in March and September, to prepare for and oversee the installation of this extraordinary artwork, and to give free public talks about it in Albany and Perth.

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Artist

Born in Brighton, UK in 1971, and settling in Perth in 1972, Cathy Blanchflower is a painter working within the field of organic abstraction, who has exhibited in Australia and overseas since 1993.

After serving as a 2018 Hedland Art Awards judge at the Courthouse Gallery, Blanchflower undertook a short research residency at South Hedland’s Spinifex Hill Studios, to investigate producing a new body of work for potential exhibition in 2019.

As part of this research she also travelled to Karijini National Park, Karratha and the Burrup Peninsular, Millstream-Chichester National Park, and Broome.

Cathy Blanchflower

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Artist

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Creative learning expert Paul Collard was in residency twice with FORM during 2018, for a month in February and March, and again in October at The Goods Shed. Collard is the CEO of Creativity, Culture & Education, an organisation dedicated to transforming the learning experience of children and young people across the world to prepare them for the opportunities and careers of the twenty-first century. While at The Goods Shed earlier in the year, Collard conducted intensive professional development sessions for teachers and creative practitioners for the pilot rollout during 2018 of FORM’s Creative Schools program (see pg.55), and came back later in the year to follow up on the program and report on the interim findings.

Paul Collard Creative Learning

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Paul Gorman of Glasgow-based Hidden Giants was the third creative learning resident at the The Goods Shed for 2018. Performer, provocateur, educator, all-round creative disruptor, Gorman works with schools, teachers and children to challenge entrenched methods of learning and teaching. A regular collaborator with Paul Collard on FORM’s Creative Learning program, Gorman brought his distinctive brand of anarchy back to The Goods Shed during March and October.

Paul Gorman Creative Learning

Professor Bill Lucas’ first visit to The Goods Shed coincided with Paul Collard’s in October.

A professor at the University of Winchester, Lucas is co-chair of the OECD’s Programme for International Student Assessment 2021 test for Creative Thinking, current advisor to the Victorian Government on education reform, and author of respected texts Teaching Creative Thinking and Educating Ruby. Lucas’ research into the creative habits of mind for successful learners has made him a global expert on how schools and teachers can inspire children to be more engaged, collaborative, and confident learners. While at The Goods Shed, he co-presented with Paul Collard to school principals and teachers on latest research regarding the benefits of releasing creative potential in the classroom.

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Creative Learning

The name Charles Landry will be familiar with many people in Perth. Famous for dubbing Perth as ‘the city that says no’ during his first residency with FORM in the mid-2000s, Landry has continued to advise civic bodies all over the world on how to make cities more creative, liveable and attractive to talent. In July, Landry gave presentations at The Goods Shed which contextualised the latest intelligence his experiences of city-making have delivered: the ‘radical common sense’ of creative bureaucracy, and how the close, yet contradictory relationship between connectedness and mobility affects city-making.

Charles Landry

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Urban Strategy

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ORGANISATION

AR - 2018 Day 1, Pilbara Creative and Cultural Forum, Newman.

Photograph by Bewley Shaylor, 2018.

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FORM offers four types of memberships: concession, individual, practitioner, and corporate. In 2018 two-year memberships were offered for individuals, concessions, and corporates with a 10% discount. The online system for membership was also streamlined for all categories, particularly for practitioners, making the process quicker and easier for new and renewing members.

The key motivation for people to become members of FORM is that they wish to support and be an advocate for arts and creativity in Western Australia. Member benefits include access to FORM’s publications and research documents; a complimentary copy of one of our publications; invitations to FORM’s exhibitions and events at The Goods Shed, FORM Gallery, and Courthouse Gallery; exclusive access to view and purchase works before the general public; a monthly member e-news where members learn about what’s happening at FORM across Western Australia first; as well as discounts and priority on workshops, ticketed events, and our retail spaces in Port Hedland. A key component to our offering is also practitioner memberships. FORM offers highly competitive rates for public and product liability insurance for artists, makers, and curators.

FORM values its members and feedback is important for us in order to ensure we continue to develop and deliver highly ambitious artistic and public programs into the future. This year we have had members-only events in Port Hedland, Perth, and Claremont, providing exclusive opportunities for our supporters to participate in our programs.

I N T E R S TAT E : 1.92% I N T E R N AT I O N A L : 2 .1 2 % REGIONAL: 2 7.1 1 % PERTH: 68.85%

TOTAL FI NA NC IA L ME MBERS

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520*

*This includes anyone who was a member, expired or not, in 2018

C O R P O R AT E : 9.03% CONCESSION: 5.40% INDIVIDUAL: 51.94% PRACTITIONER: 3 2 .1 0 % PRACTITIONER/ C U R AT O R : 1.53%

TOTAL N UMBE R OF EXTERNA L SUBSCRIP TIONS/DATA B ASES

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10,574

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Media and Communications FORM’s prolific and wide-ranging areas of programming mean a variety of stakeholders and audiences, and a suite of communications suitably tailored and flexible to cater to all of them. Our communications span a direct email marketing database of more than 6,000; 33,000 social media followers and around 65,000 web visits during 2018. FORM’s communications seek to generate awareness of and engagement with our creative programs, building on our reputation as a key cultural organisation in Western Australia, and profiling our work and that of our artists nationally and internationally.

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FORM’s social media network includes more than 17, 000 on Instagram, 13,000 on Facebook – and a rating of 4.4 out of five stars based on 87 reviews - and 3,000 on Twitter. Alongside daily social media communications, FORM produces and distributes a collection of monthly and specialised EDMs, media releases, invitations, posters, maps, fliers, booklets and other collateral promoting our programs across the state, and worked to maintain strong relationships with new and existing stakeholders including local, national, and international media; influencers and partners.

During 2018 FORM facilitated 10 famils and media events, and generated more than 100 media features focused on our programming across print, online, radio and TV through engagement, facilitation and liaison with media. We commissioned 11 short films around our programming creating an emotive and visual narrative to promote and celebrate our initiatives. The films were displayed online and at a number of public events and venues, ranging from the Newdegate Machinery Field Day, one of regional Western Australia’s biggest public events to high profile inner city landmark Yagan Square’s Digital Tower in the heart of Perth. Dedicated television, Radio and TV advertising campaigns were run across metropolitan and regional media, including on GWN7’s various channels, Redwave Media’s Spirit Radio, RedFM and DigiRed, RTRFM and 94.5.

FORM also wrote, designed and produced 11 specialty publications in house, including exhibition catalogues, festival programs and narrative publications to communicate our programming and present its outcomes.

BELOW ARE SOME OF THE MEDIA AND COMMUNICATIONS ACHIEVEMENT HIGHLIGHTS FROM ACROSS FORM’S MAJOR PROJECTS DURING 2018.

On its completion the PUBLIC Silo Trail achieved a three day dedicated Page Two feature in The West Australian’s Inside Cover; the State’s biggest newspaper and Australia’s highest circulating Monday to Friday publication, with a circulation of 152,353.

The launch of Field of Light: Avenue of Honour was broadcast on breakfast television program Sunrise’s national weather cross with Sam Mac with an average viewership of 357,400.

The launch of the Field of Light: Avenue of Honour ran on Page 2 of The Australian newspaper and internationally in the Telegraph UK and the New Zealand Herald newspapers.

The PUBLIC Silo Trail’s Ravensthorpe silos have been recognised in an Australia Post commemorative stamp collection that have been distributed nationwide.

Graffiti Street New Zealand Herald The Sunday Mirror CN Traveller Newstalk ZB No Cure Magazine Street Art News Great Australian Adventure The Sydney Morning Herald The Brisbane Times Landscape Australia ABC Online Art Almanac RRR Magazine World Grain Channel 7

Channel 9 Channel 10 Destination WA ABC Radio Triple M Radio Caravan & Camping WA Travel9 GWN7 Spirit Radio RedFM DigiRed RTRFM Mix 94.5 The West Australian The Sunday Times The Urban List Perth WA Today

Seven West Travel Club Business News Tourism WA The Countryman Fabric Quarterly Grain Central SeeSaw Magazine Perth Media All Public Art 92.5 Gold FM Escape Enjoy Perth The Albany Advertiser The Great Southern Weekender The Albany Extra Scoop Weekend Notes The Narrogin Observer The Great Southern Herald Department of Culture and the Arts Books and Publishing Australia Art News Australia

Black Inc Books North West Telegraph Busselton Mail BridgetownManjimup Times Swan Magazine Pilbara News Bunbury Mail Eastern Reporter Collie Mail Pelican Magazine Sound Southern Telegraph Yanchep News Online Books ‘n Places Healthway The Senior Perth Uncommon Perth Happenings We Love Perth Chittering Chatter Holary Rosary Newsletter Future West (Australian Urbanism) The Canning Times

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Films highlighting FORM’s PUBLIC Silo Trail, Field of Light and Pujiman projects were featured on loop at Yagan Square’s Digital Town in the heart of Perth City.

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Board Members’ Report BOARD MEMBER

EXPERTISE

PAUL CHAMBERLAIN

Philanthropy, investment

Philanthropist, investor

LYNDA DORRINGTON

The Board Members present their report on the incorporated association for the financial year ended 31 December 2018.

The names of the Board Members in office at the date of this report are as follows:

OFFICE 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

Director of Strategic Initiatives FORM

TANIA HUDSON 119

Director of Development and Communications Lions Eye Institute

ADAM ZORZI

Director Australian Development Capital

PETER LEE Director HASSELL

Communications & Social Impact, Partnerships

NATALIE WALKER

General Manager, Operational & Compliance Risk, BankWest

STUART SMITH

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

Board Member

(Appointed 2011, resigned from Chair April 2014)

Board Member

Architecture, design & place activation

Board Member

Management, strategy

CHARLOTTE HAMLYN Reporter & Journalist ABC News ABC 7:30 Report WA

(Appointed 2014)

Property Investment & Development

STEDMAN ELLIS

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

(Appointed 2000)

Media & Communications

Accounting & Finance

Strategic planning, government relations

(Appointed 2009)

(Appointed 2011)

Board Member (Appointed 2013

Board Member (Appointed 2016)

Treasurer

(Appointed 2018)

Board Member (Appointed 2016)

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

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

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

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

Indemnifying Board Members FORM’s Association Liability insurance included coverage of the Board Members during the 2018 financial year. No indemnities have been given during or since the end of the financial year for any person who is or has been a Board Member or auditor of the association.

Significant Events after the Balance Date No matters or circumstance have arisen since the balance date which significantly affected or may affect the operations of the association, the results of those operations, or the state of affairs of the association in the financial years subsequent to the year ended 31 December 2018.

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Operating Results The surplus for the year amounted to $12,667.00

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

Likely Developments and Expected Results The continuing success of FORM in building creative capacity within regional and urban Western Australia is dependent upon FORM being able to negotiate ongoing partnerships with the public and private sector. The Board Members do not foresee any major changes in the direction of the association which will significantly impact on the entity not otherwise dealt with in this report.

Annual Financial Statements The 2018 Annual Financial Statements are contained in a separate document and are available upon request.

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Principal Activities The principal activities of the entity during the financial year were: • Perth Creative Engagement • Regional Artistic Capacity • Aboriginal Design & Artistic Development

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Thank you FORM wishes to thank each and every person, organisation, agency, and company mentioned in this Annual Report, all of whom have made varied and valuable contributions to FORM’s projects in 2018.

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.

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Principal Partner

Major Partners

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Programming Partners

Suppoting Partners

Specific Programs

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hospitality Partners

F O R M . N E T. A U