FORM ANNUAL REPORT
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FORM OVERVIEW
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FORM OVERVIEW
PREVIOUS PAGE. Balgo Spinifex, Larry Gundora, acrylic and ochre on belgian linen, 150 x 75cm, Warlayirti Artists. Photograph by Bewley Shaylor, 2014. THIS PAGE. Concept sample, outcome of Unexpected Jeweller residency, Yuko Fujita, found materials and paint. Photograph by Bewley Shaylor, 2014.
TA B L E O F
CONTENTS Executive Director’s Report Creatives Engaged FORM Overview Ye a r a t a Glance PUBLIC Art in the City Art City Private & Salon PUBLIC House Dear William Urban Art Walks Art in the Pilbara 100 Hampton Road Once Upon a Time in the West Unexpected Jeweller Land.Mark.Art Public Art Spinifex Hill Studios Port Hedland Courthouse Gallery 2014 Hedland Art Awards Helen Ansell: Beyond the Fence Line West End Markets Port Hedland Visitor Centre Members & Art Talk Media Publications Board Members’ Report Thank You
CONTENTS
9 14 16 20 26 31 35 38 44 47 52 55 59 70 79 85 92 97 102 110 112 116 118 121 122 124 126 130
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THIS PAGE. Milky Way seen from Cowra Outcamp. Photograph by Claire Martin/Institute, 2014. Work exhibited as part of Marlbatharndu Wanggagu – Once Upon a Time in the West, 2014. FORM OVERVIEW
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FORM OVERVIEW
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EXECUTIVE DIRECTOR’S REPORT
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EXECUTIVE DIRECTOR’S REPORT 2014 saw a common thread emerge through many of our creative undertakings. With programs set amid the part-desert, parttropical landscapes of the great North West and conversely, within the unique dynamics of Perth’s suburbs, new creative conversations arose regarding what is distinctively Western Australian. This question pulls into its remit both distinctiveness of artistic practice and distinctiveness of community and culture. It has been explored from many perspectives and with many artistic outcomes, from new bodies of work shaped by the experiences of interstate and international artists within our own landscapes, to insights into history and culture through the eyes of some of our most talented Aboriginal artists.
LEFT PAGE. Untitled, Alexis Diaz, Wolf Lane. Photograph by Luke Shirlaw, 2014.
In April we launched PUBLIC, an annual program designed to reconnect art with people, and people with their own cities and communities. The public realm is one of shared spaces, accessibility, knowledge, and activity, and PUBLIC seeks to honour and reinvigorate this realm through an ongoing program of openly accessible, highly visible art, conversations about place and space, and cultural projects designed to tell the stories previously hidden in the folds of a community. As PUBLIC operates within shared domains, we have been mindful of the need to represent the diversity of people, places, and cultures that occur within such domains, and of using the program to work towards a sense of ‘public good’: essentially, EXECUTIVE DIRECTOR’S REPORT
a greater sense of community mindfulness and awareness. PUBLIC’s debut was a celebration of art and creativity, and an invitation to reinterpret our individual and collective relationship with Western Australia’s natural and constructed architectures. Yet equally, we wanted to explore the value that creative process and artistic intervention can gift to more specific or invisible community groups. As such, as part of the program we have partnered with residents of 100 Hampton Road Fremantle, a social housing property managed by Foundation Housing. This long-term creative engagement works toward enhancing the skills and confidence of residents; representing their voices and stories; and using art, design, and creativity to improve the property’s common areas. Programs of this scale and type would not be possible without the trust and commitment of our partners and we are indebted to BHP Billiton, long-term principal partner of FORM, for investing significantly in this project. Considerations of what is distinctively Western Australia often take into account the State’s immense open expanses and outback geographies and it is true that these regions have captured the imaginations of many, FORM included. We have worked closely with Pilbara and North West communities for close to ten years, and have seen the strong influence of these landscapes on those that live there. In March 2014 we celebrated the launch of a facility
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FORM’S ARTISTIC NETWORK
that represents both the existing talent and future potential of art and design in the North West. The Spinifex Hill Studios are a stateof-the-art creative space with artistic programming designed to explore and expand the potential of creative exchange in this compelling region. It also marks six years of working with the Spinifex Hill Artists, an Aboriginal collective who are now permanent artists in residence at the Studios. In the first year of operation the Spinifex Hill Studios also hosted a diverse range of creatives including street artists from Argentina, France, Italy, Mexico, Puerto Rico, and the United States; leading Australian jewellers and visual artists; and regionallybased painters and textile designers. Still in the Pilbara, another successful delivery of the Hedland Art Awards saw $60,000 in prize money and almost $40,000 in sales distributed to Western Australia’s regional artists. Finally, the year rounded out, fittingly, in both South Hedland and Perth with Marlbatharndu Wanggagu - Once Upon a Time in the West.
This powerful collaboration with the Yinhawangka, Banyjima, and Nyiyaparli (IBN) Corporation told, first-hand, the stories and experiences of Aboriginal people working in the Pilbara’s pastoral industry during the twentieth century. American artist Jetsonorama, Australian photographer Claire Martin, and Aboriginal artist Reko Rennie worked closely with these communities to bring the project to life. On reflection these projects reveal another theme common to the year’s program: a renewed focus on the power of artist residencies to inspire and enable. Connecting local, Australian, and international artists with diverse communities has offered mutually rewarding outcomes: not only opening pathways for artists to explore their practice more deeply, but using creativity to encourage a more authentic, spirited, and urbane sense of community identity and culturally relevant narrative. Our public art program also witnessed milestones in 2014. Following two years of development EXECUTIVE DIRECTOR’S REPORT
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01. Mimi Mills/Anonymous 3/Riccardo Carrano, Nigel Bennet, 110 x 139cm, archival pigment print on Hahnemuhle Fine Art paper, edition of 3 + 1 AP. FOLLOWING PAGE. BIG RED, Reko Rennie, a FORM and Wesfarmers Arts Commission in 2014, foyer Wesfarmers House, © Reko Rennie. Photograph by Robert Frith, 2014.
working closely with local and national artists, the first of a series of artworks were installed at Perth Airport in a project committed to delivering world-class artistic outcomes. In another key project, FORM was part of the successful bid team to design, build, and manage the new Perth Stadium. This project offers exciting opportunities for the commissioning of legacy artworks. In particular, the commissioning of Laurel Nannup’s First Contact for Elizabeth Quay represents an iconic outcome of our metropolitan Land.Mark.Art stream. It also represents a significant cultural and artistic milestone for this important Noongar artist.
Working in Western Australia has taught us that along with a perceived tyranny of distance and isolation comes enormous freedom to take calculated risks and push the potential of our arts sector to new levels. Indeed, this is perhaps one of the strongest markers of Western Australia’s cultural and creative distinctiveness: the two sides to isolation, and the delicate balance of power between the two. In a State very much defined by its geography and physical landscapes (after all, they are the source of our economy, our industry, and our urbanity) it is unsurprising that we are compelled to explore its full influence on our individual and collective psyche.
These are only a few highlights from the full year of programming, outlined in detail over the following pages.
LYN DA DO RRI N GTO N , EXECU T I VE DI RECTOR
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EXECUTIVE DIRECTOR’S REPORT
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FORM OVERVIEW
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FORM OVERVIEW
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CREATIVES ENGAGED
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Nancy Chapman, visual artist, ( WA ) Eileen Charles, visual artist, ( WA ) Imelda Charles, visual artist, ( WA ) Veronica Charlie, visual artist, ( WA ) Andrew Christie, designer, ( WA ) Anjanette Churnside, visual artist, ( WA ) Jill Churnside, visual artist, ( WA ) Merinda Churnside, visual artist, ( WA ) Sage Clinch, visual artist, ( WA ) Kerri-Anne Conway, designer, ( WA ) Jasper Cook (VJzoo), multimedia artist, ( WA ) James Cooper, street artist, ( WA ) Penny Coss, visual artist, ( WA ) Jodie Cox, curator, ( WA )
2501, street artist, ( ITALY )
Lena Abba, visual artist, ( WA ) Bruce Abbott, designer, ( WA ) Abdul Abdullah, visual artist, ( WA ) Abdul-Rahman Abdullah, visual artist, ( WA ) Tim Acker, curator, ( WA ) Clara Allen, visual artist, ( WA ) Amok Island, street artist, ( WA ) Audrey Angie, visual artist, ( WA ) Helen Ansell, visual artist, ( WA ) Judith Anya Samson, visual artist, ( WA ) Arms In Motion, musician, ( WA ) Judith Aspro, visual artist, ( WA ) Miriam Atkins, visual artist, ( WA ) Casey Ayres, visual artist, ( WA ) Troy Barbitta, visual artist, ( WA ) Alfred Barker, visual artist, ( WA ) Joel Barker, musician, ( WA ) Sally Barker, visual artist, ( WA ) Willarra Barker, visual artist, ( WA ) Nathan Beard, visual artist, ( WA ) Beastman, street artist, ( NSW ) Nigel Bennet, visual artist, ( ITALY ) Damien Berry, visual artist, ( WA ) Brett Biermann (Heavy Projects), multimedia artist, ( US ) Jakayu Biljabu, visual artist, ( WA ) Yunkurra Billy Atkins, visual artist, ( WA ) Matt Biocich, photographer, ( WA ) Kat Black (VJzoo), multimedia artist, ( WA ) The Blackstone Ramblers, musician, ( WA ) Tom Blake, visual artist, ( WA ) Winston Bobby, visual artist, ( WA ) Helena Bogucki, visual artist, ( WA ) Deborah Bonar, visual artist, ( WA ) Ryan Boserio, street artist, ( WA ) Penny Bovell, visual artist, ( WA ) Diana Boyd, visual artist, ( WA ) Scott Boyd, visual artist, ( WA ) Anya Brock, street artist, ( WA ) Selena Brown, visual artist, ( WA ) Anthony Bullen, visual artist, ( WA ) Biddy Bunwarrie, visual artist, ( WA ) Victor Burton, visual artist, ( WA ) Elisha Buttler, writer, ( VIC ) Ted Byrne, visual artist, ( WA ) Matt Cal, musician, ( WA ) Chine Cameron, visual artist, ( WA ) Marcus Canning, visual artist, ( WA ) Leonie Cannon, visual artist, ( WA ) Anne Carr, visual artist, ( WA ) Helen Carroll-Fairhall, writer, ( WA ) Rodrigo Cassini, designer, ( BRAZIL ) Doreen Chapman, visual artist, ( WA ) May Chapman, visual artist, ( WA )
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Max George, visual artist, ( WA ) Simon Gilby, visual artist, ( WA ) Anthony Ginger, visual artist, ( WA ) Glasfurd & Walker, designer, ( CANADA ) Lorenna Grant, visual artist, ( WA ) Maggie Green, visual artist, ( WA ) Miik Green, visual artist, ( WA ) Alan Griffiths, visual artist, ( WA ) Lucas Grogan, visual artist, ( VIC ) Larry Gundora, visual artist, ( WA ) Anne-Laure Gunson-Bouillet, visual artist, ( WA )
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Karola Dahl, visual artist, ( WA ) Peter Dailey, visual artist, ( WA ) Margaret Dalbin, visual artist, ( WA ) Julianne Davis, visual artist, ( WA ) Jenny Dawson, visual artist, ( WA ) Paul Deej, street artist, ( WA ) Nude Design Studio, designer, ( WA ) Alexis Diaz, street artist, ( PUERTO RICO ) Rupert Dickerson, visual artist, ( WA ) Troy Division, musician, ( WA ) Declan Doherty, musician, ( WA ) Andrew Dowding, anthropologist, ( WA ) Ian Dowling, visual artist, ( WA ) Lauren Dunn, photographer, ( VIC ) E.L.K., street artist, ( VIC ) Sonya Edney, visual artist, ( WA ) Katie Evans, visual artist, ( WA ) Ever, street artist, ( ARGENTINA ) Miranda Farmer, visual artist, ( WA ) Peter Farmer, visual artist, ( WA ) Eva Fernandez, visual artist, ( WA ) Amanda Firenze Pentney, visual artist, ( WA ) Annabella Flatt, visual artist, ( WA ) Christian Fletcher, photographer, ( WA ) Christoffer Fletcher, sound engineer, ( WA ) Frank Footscray, visual artist, ( WA ) Penny Forlano, designer, ( WA ) Judith Forrest, visual artist, ( WA ) Narelle Fouche, visual artist, ( WA ) Julia Fournier, writer, ( WA ) Camille Franklin, visual artist, ( WA ) Patricia Franklin, visual artist, ( WA ) Andrew Frazer, visual artist, ( WA ) Amy French, visual artist, ( WA ) Yuko Fujita, visual artist, ( VIC ) Gaia, street artist, ( US ) Nyaparu Gardiner, visual artist, ( WA ) Ian Gear, visual artist, ( WA ) Jeannie George, visual artist, ( WA )
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Cassandra Halden, visual artist, ( WA ) Matthew Harding, visual artist, ( WA ) Renee Hay, visual artist, ( WA ) Sohan Ariel Hayes, multimedia artist, ( WA ) Maya Hayuk, street artist, ( US ) Nicky Hepburn, visual artist, ( VIC ) Mike Hewson, visual artist, ( WA ) Jenna Higgs, visual artist, ( WA ) Sandra Hill, visual artist, ( WA ) Thomas Hoareau, visual artist, ( WA ) Howard Holder, visual artist, ( WA ) Craig Hollywood, musician, ( WA ) David Hooper, visual artist, ( WA ) Stephen D. Hopper, writer, ( WA ) Jean-Paul Horre, photographer, ( WA ) Kyle Hughes-Odgers, street artist, ( WA ) Hurben, street artist, ( WA ) Erol Hussein, designer, ( WA ) Brendan Hutchens, filmmaker, ( WA ) Darren Hutchens, street artist, ( WA ) Hyuro, street artist, ( ARGENTINA ) Lorraine Injie, writer, ( WA ) Izzie + Queenie, designer, ( WA ) Polly Jack, visual artist, ( WA ) Sharon Jack, visual artist, ( WA ) Pennie Jagiello, visual artist, ( VIC ) Linda James, visual artist, ( WA ) Sadie James, visual artist, ( WA ) Su James, writer, ( WA ) Daisy Japulija, visual artist, ( WA ) Jaz, street artist, ( ARGENTINA ) Maryanne Jebb, writer, ( ACT ) Jetsonorama, street artist, ( US ) Christoffer Johannesen, photographer, ( NORWAY ) Ned Kahn, visual artist, ( US ) Andrew Kay, visual artist, ( WA ) Gloria Kelly, visual artist, ( WA ) Kid Zoom, visual artist, ( WA ) Jeremy Kirwan-Ward, visual artist, ( WA ) Pat Kopusar, visual artist, ( WA ) Sonia Kurrarra, visual artist, ( WA )
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David Dare Parker, photographer, ( WA ) Peggy Patrick, visual artist, ( WA ) Nadia Paulse, designer, ( WA ) Chad Peacock, filmmaker, ( WA ) Sarah Pellicano, musician, ( WA ) Marianne Penberthy, visual artist, ( WA ) Aidan Perry, visual artist, ( WA ) Phibs, street artist, ( NSW ) Phlegm, street artist, ( UK ) Kara Pinakis, designer, ( WA ) Sarah Polly, visual artist, ( WA ) Beryl Ponce, visual artist, ( WA )
Donna Larry, visual artist, ( WA ) David Ledger, visual artist, ( WA ) Rupert Lee, visual artist, ( WA ) Michelle Leslie, designer, ( WA ) Joan Lever, visual artist, ( WA ) Dianne Lofts-Taylor, visual artist, ( WA ) Nick Lowe (Hungry Sky), multimedia artist, ( WA ) Henry Luong, designer, ( WA )
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Maria Mack, visual artist, ( WA ) Kittey Malarvie, visual artist, ( WA ) Mulyatingki Marney, visual artist, ( WA ) Claire Martin, photographer, ( WA ) Filipa Matos, designer, ( WA ) Janelle McCaffrey, visual artist, ( WA ) Jack McCale, visual artist, ( WA ) Jaquelyn McCaskie, visual artist, ( WA ) Rob McCulloch, visual artist, ( WA ) Susan McCulloch, curator, ( VIC ) Emily McCulloch Childs, curator, ( VIC ) Clare McFarlane, visual artist, ( WA ) Paul McGillick, writer, ( NSW ) Alan McKay, visual artist, ( WA ) Courtney McKay, visual artist, ( WA ) Noel McKenna, visual artist, ( WA ) Judy Mengil, visual artist, ( WA ) Lynda Miller, visual artist, ( WA ) Minyawe Miller, visual artist, ( WA ) Stormie Mills, street artist, ( WA ) Natalia Milosz-Pierkarska, visual artist, ( VIC ) Karl Monaghan, photographer, ( WA ) MONO, designer, ( WA ) Sean Morris, street artist, ( WA ) Lydia Mudji, visual artist, ( WA ) Tom Muller, visual artist, ( WA ) Ian Mutch, street artist, ( WA )
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Katie Nalgood, visual artist, ( WA ) Brett Nannup, visual artist, ( WA ) Laurel Nannup, visual artist, ( WA ) Jeremiah Nargoodah, visual artist, ( WA ) Juane Narrier, visual artist, ( WA ) Natasha Nelson, visual artist, ( WA ) Matthew Ngui, visual artist, ( WA ) Diana Nguyen, designer, ( WA ) Neil Nicholson, visual artist, ( WA ) Chris Nixon, street artist, ( WA ) NOMAD Ink Studio, designer, ( WA ) Melissa North, visual artist, ( WA ) Taylah Nowers, visual artist, ( WA ) Nora Nungabar, visual artist, ( WA ) Karin Page, musician, ( WA ) Pixel Pancho, street artist, ( ITALY ) Tony Pankiw, visual artist, ( WA ) Dorothy Papertalk, visual artist, ( WA ) Justin Papertalk, visual artist, ( WA ) Jan Parish, visual artist, ( WA )
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Kathy Ramsey, visual artist, ( WA ) Rammey Ramsey, visual artist, ( WA ) Nada Rawlins, visual artist, ( WA ) Jolly Read, writer, ( WA ) Jahne Rees, visual artist, ( WA ) Remed, street artist, ( FRANCE ) Reko Rennie, visual artist, ( VIC ) Replants, designer, ( WA ) Trevor Richards, visual artist, ( WA ) Bruce Richardson, visual artist, ( WA ) Eliza Rieger, visual artist, ( WA ) Peta Riley, designer, ( WA ) ROA, street artist, ( BELGIUM ) Deshawn Roberts, visual artist, ( WA ) Diger Rockwell, musician, ( WA ) Tim Rollin, street artist, ( WA ) Susie Rowland, visual artist, ( WA ) Betty Rupe, visual artist, ( WA ) Allison Russell, visual artist, ( WA ) Darren Sampi, visual artist, ( WA ) Winnie Sampi, visual artist, ( WA ) Dadda Samson, visual artist, ( WA ) Saner, street artist, ( MEXICO ) Ben Savage, designer, ( WA ) Nike Savvas, visual artist, ( NSW ) Camille Scherrer, multimedia artist, ( SWITZERLAND ) Steve Schneider, visual artist, ( WA ) Jane Scott, visual artist, ( WA ) Carly Scoufos, visual artist, ( QLD ) Jordan Seiler (Heavy Projects), multimedia artist, (US) Jarrad Seng, photographer, ( WA ) Valda Sesar, visual artist, ( WA ) Bewley Shaylor, photographer, ( WA ) Sheryo, street artist, ( SINGAPORE ) Luke Shirlaw, photographer, ( QLD ) Shrink, street artist, ( WA ) Ann Sibosado, visual artist, ( WA ) John Prince Siddon, visual artist, ( WA ) Kathleen Simpson, visual artist, ( WA ) Madona Simpson, visual artist, ( WA ) Monique Simpson, visual artist, ( WA ) Paul Simpson, visual artist, ( WA ) Roderic Simpson, visual artist, ( WA ) Charmaine Sinclair, visual artist, ( WA ) Naomi Stanitzki, visual artist, ( WA ) Nick Statham, designer, ( WA )
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Alinta Stevens, visual artist, ( WA ) David Stock, musician, ( WA ) Hellena Stokes, visual artist, ( WA ) Mervyn Street, visual artist, ( WA )
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Greg Taylor, musician, ( WA ) Marlene Taylor, visual artist, ( WA ) Mary Taylor, visual artist, ( WA ) Muuki Taylor, visual artist, ( WA ) Steve Tepper, visual artist, ( WA ) Biddy Thomas, visual artist, ( WA ) Bruce Thomas, musician, ( WA ) Paul Thomas, visual artist, ( WA ) Eileen Tinker, visual artist, ( WA ) Jason Tinker, visual artist, ( WA ) Monique Tippett, visual artist, ( WA ) Elizabeth Toby, visual artist, ( WA ) Minh Tran (Hungry Sky), multimedia artist, ( WA ) Romina Triboli, designer, ( WA ) Alec Tucker, musician, ( WA ) Luke Tuffin, visual artist, ( WA ) Ryley Twycross, visual artist, ( WA ) Ann Van Hulle, writer, ( BELGIUM ) Vans the Omega, street artist, ( SA )
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Narlene Waddaman, visual artist, ( WA ) Mabel Wakarta, visual artist, ( WA ) Faye Walker, visual artist, ( WA ) Josh Walker, visual artist, ( WA ) Bianca Wally, visual artist, ( WA ) Yandell Walton, multimedia artist, ( VIC ) Nici Ward, designer, ( WA ) Wendy Warrie, visual artist, ( WA ) Mags Webster, writer, ( WA ) Rebecca Wetzler, street artist, ( WA ) Rosemary Whalebone, visual artist, ( WA ) Sally Whalebone, visual artist, ( WA ) Bugai Whyoulter, visual artist, ( WA ) Lena Willalang, visual artist, ( WA ) Daek William, street artist, ( WA ) Martin E. Wills, street artist, ( WA ) Aaron Wilson, musician, ( WA ) Gera Woltjer, visual artist, ( WA ) Nora Wompi, visual artist, ( WA ) Wimiya Woodley, visual artist, ( WA ) Molly Woodman, visual artist, ( WA ) Peter Woodman, visual artist, ( WA )
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J eannie Yarbarla, visual artist, ( WA ) Robert Yates, visual artist, ( WA ) Alister Yiap, visual artist, ( WA ) The Yok, street artist, ( WA ) Margaret Yuline, visual artist, ( WA )
Bruno Zimmerman, photographer, ( WA )
‘
Work exhibited as part of Dear William, a dedication to William Street, 2014.
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FORM OVERVIEW
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FORM 2014 YEAR AT A GLANCE January
Kyle Hughes Odgers commissioned to create public artwork at Perth Airport.
BHP provides funding for the 100 Hampton Road project. FORM hosts a PUBLIC preview event for Perth street artists at FORM Gallery.
March Message in a Bottle jewellery workshop with Pennie Jagiello at Spinifex Hill Studios.
Nick Statham and Penny Forlano commissioned by Perth Airport to create public artworks.
Official launch of the 100 Hampton Road Project.
February
Official Opening of the Spinifex Hill Studios with a group exhibition.
Opening of Growing up in Port Hedland and Caught on the Wind exhibitions at Port Hedland Courthouse Gallery.
PUBLIC sponsors’ event at FORM Gallery. Reko Rennie mural workshop at Spinifex Hill Studios for young people.
Launch of new dedicated Spinifex Hill Studios website. 01. Saner completing a mural on Wedge Street, Port Hedland. Photograph by Bewley Shaylor, 2014.
Textiles workshop by Helen Ansell and Peta Riley at Spinifex Hill Studios.
Jewellery workshop with Pennie Jagiello at Spinifex Hill Studios.
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Y E A R AT A G L A N C E
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02
Opening of Floribundus and Kantimarta Artists at Port Hedland Courthouse Gallery.
Street art workshop hosted by PUBLIC artists Ever and Gaia for young people in Subiaco.
West End Markets: Cruise Ship Edition.
Opening of PUBLIC Salon at FORM Gallery.
PUBLIC artists install murals at 100 Hampton Road.
Launch of PUBLIC House in Wolf Lane. Launch of Dear William, a dedication to William Street in Northbridge.
April Opening of PUBLIC Private preview exhibition at FORM Gallery. Launch of PUBLIC Art in the City, which runs from 5 to the 13 April, with over 48 artists from Australia and around the world completing murals. Street art workshop hosted by Ian Strange and Daek William, for young people associated with the Salvation Army Doorways Program.
PUBLIC artists complete residencies as part of PUBLIC Art in the Pilbara. 13 international street artists at Spinifex Hill Studios for informal studio tutelage. Jewellery workshop at Spinifex Hill Studios with Natalia Milosz-Piekarska. Sophie Budd cooking program begins at 100 Hampton Road.
Y E A R AT A G L A N C E
02. Inhabit (installation detail), Renee Hay, Port Hedland Courthouse Gallery, 2014.
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May
June
Re-launch of Dear William and artists’ talks by Abdul Abdullah, Abdul-Rahman Abdullah, Nathan Beard, and Nigel Bennet.
Helen Ansell painting and textiles workshop at Spinifex Hill Studios.
Big Data Week presentation on Mira Canning Stock Route Digital Futures Project at FORM Gallery. Keepsake in the Pilbara jewellery workshop with Nicky Hepburn at the Port Hedland Courthouse Gallery. Jewellery workshop at Spinifex Hill Studios with Nicky Hepburn. Spinifex Hill Studios market stall at Welcome to Hedland community event. Opening of Martumili Marlakurrinpa and Inhabit at Port Hedland Courthouse Gallery.
Peta Riley painting and textiles workshop at Spinifex Hill Studios. West End Markets and movie screening. Spinifex Hill Studios artists exhibited in Cossack Art Awards 2014. Opening of Helen Ansell: Beyond the Fence Line at FORM Gallery. Eva Fernandez residency commences at 100 Hampton Road. Chris Nixon completes public artwork at Bassendean Shopping Centre.
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Y E A R AT A G L A N C E
03. Artists gather on the lawn at Spinifex Hill Studios at the opening of their exhibition of new works in November. Photograph by FORM, 2014.
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04. Audience at the 2014 Hedland Art Awards. Photograph by Bewley Shaylor, 2014.
Land.Mark.Art workshops for St John of God Midland Public and Private Hospital with Noongar artists.
Spinifex Hill Studios artist Maggie Green wins the Kathy Donnelly Judges’ Award at the 2014 Hedland Art Awards. West End Markets: Harvest Edition.
July Land.Mark.Art workshop with Pilbara Aboriginal artists and national jewellers at Spinifex Hill Studios. NAIDOC Week Open Day and studio exhibition at Spinifex Hill Studios. A Good Looking Man workshops commence at 100 Hampton Road. Land.Mark.Art workshop with Laurel Nannup for First Contact in Brisbane.
August Continuation of PUBLIC Art in the City in Victoria Park with Saner. Continuation of PUBLIC Art in the Pilbara on Wedge Street with Saner, Andrew Frazer, and Amok Island. Opening of the Hedland Art Awards at Port Hedland Courthouse Gallery.
Y E A R AT A G L A N C E
Anya Brock completes internal mural at 100 Hampton Road. Tom Muller and Carly Scoufos commissioned for public artworks at Perth Airport. Ned Khan commissioned for public artworks at Brookfield Place Tower 2. Chris Nixon completes public artwork at the Hyatt. FORM appointed art consultant for Perth Stadium public artworks. Artists commissioned for St John of God Midland Public and Private Hospital public artworks.
September Kyle Hughes-Ogders completes mural in the common room at 100 Hampton Road. Redecoration of the common room at 100 Hampton Road.
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Amok Island completes large external mural at 100 Hampton Road. Kyle Hughes-Odgers completes public artwork at Perth Airport. Land.Mark.Art workshop with Jill and Merinda Churnside for Karratha Quarter public artworks.
October FORM’s Urban Art Walks feature as part of Open House. Lisa Baxter audience engagement workshop at the Port Hedland Courthouse Gallery.
Marlbatharndu Wanggagu: Once Upon a Time in the West opens in South Hedland. Opening of It’s What you See, Mollycamp, and Landscapes at the Port Hedland Courthouse Gallery. West End Markets: Pilbara Food Edition. Spinifex Hill Studios market stall at the West End Markets. 100 Hampton Road residents sell product created through the furniture workshop and cooking classes at a market stall in Kings Square, Fremantle as part of the Garage Sale Trail.
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05. Jill Churnside and Sharyn Egan at Unexpected Jeweller Land.Mark.Art workshop. Photograph by Bewley Shaylor, 2014. Y E A R AT A G L A N C E
Land.Mark.Art workshop with Laurel Nannup for First Contact.
November Marlbatharndu Wanggagu - Once Upon a Time in the West opens in Perth, preceded by an Art Talk with IBN members. Governor General Peter Cosgroves and his wife are officially hosted at Spinifex Hill Studios. Spinifex Hill Studios exhibition launch on-site and studio open day the following day.
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06. Marlbatharndu Wanggagu - Once Upon a Time in the West launch in South Hedland. Photograph by Bewley Shaylor, 2014.
Nomination of Spinifex Hill Studios artists Maggie Green and Doreen Chapman for the 2015 Western Australian Indigenous Art Awards. Entrance area, staff room, and five shared kitchen/common rooms upgraded at 100 Hampton. Three murals created at 100 Hampton Road. Successful presentation to Fremantle Foundation Charity Dinner competing for the Impact100 $100,000 grant. Dismantle workshops commence at 100 Hampton Road.
Helena Bogucki completes public artwork at Bassendean Shopping Centre. Land.Mark.Art workshop with Laurel Nannup for First Contact. Lorenna Grant commissioned for public artwork for Claremont on the Park.
Christmas Party at 100 Hampton Road. Workshop with Whadjuk Working Party for Perth Stadium public artworks. Penny Coss commissioned for public artwork at Perth Airport.
Land.Mark.Art workshop with Spinifex Hill Artists for Quattro public artworks.
Kyle Hughes-Odgers commissioned for public artwork at 570 William Street.
December
Sohan Ariel Hayes commissioned for interactive public artwork at Old Treasury Building.
100 Hampton Road participates in South Fremantle Growers Green Market. Y E A R AT A G L A N C E
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PUBLIC
PUBLIC is a three year program exploring the relationship between art and community wellbeing. The program launched in 2014, and involved urban artist residencies in Perth and the Pilbara, site-based installations, gallery exhibitions, urban art walks, and an ongoing project with social housing residents at 100 Hampton Road.
OVERVIEW
PUBLIC OVERVIEW
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PUBLIC
$
35- 40,000 ESTIMATED ATTENDANCE
240,000
INCOME GENERATED FOR ARTISTS
17
29
5
INTERNATIONAL ARTISTS
WESTERN AUSTRALIAN ARTISTS
INTERSTATE ARTISTS
37 WALLS TRANSFORMED
seven
four
D I G I TA L I N S TA L L AT I O N S
EXHIBITIONS & OPENINGS
8 ARTISTS RESIDENCIES TO THE PILBARA 1
2 DAYS OF PUBLIC HOUSE ACTIVATING WOLF LANE
2014
PUBLIC OVERVIEW
2
3
3 WORKSHOPS FOR YOUTH
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PUBLIC
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PUBLIC
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PUBLIC
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ART IN THE CITY
“ I have always been a big fan of street art, however after experiencing PUBLIC it has really shown me how the marriage of art and architecture can bring people together and also showcase the local artistic talent as well as the international artists. It was a real privilege to witness and I hope it happens again next year! SURVEY RESPONDENT
“
PREVIOUS SPREAD. Untitled, Stormie Mills, Murray Street Carpark. Photograph by Luke Shirlaw, 2014. LEFT PAGE. Dead Posh, Lucas Grogan, Wolf Lane. Photograph by Bewley Shaylor, 2014.
PUBLIC Art in the City served as a primary focus of the PUBLIC 2014 program, showcasing the practices of a variety of artists who choose to work in the public realm. The various program events (including Dear William: a dedication to William Street, PUBLIC House, and aspects of the 100 Hampton Road engagement) took place in the Perth metropolitan area over a period of approximately 14 days from 5-13 April and 25-28 April. 50 local, national, and international artists participated in Art in the City by painting 41 walls spread over four major Perth councils: City of Perth, City of Vincent, City of Subiaco, and City of Fremantle, or via temporary site-specific installations and projection works. The Art in the City murals and events were documented in print, radio, and Internet media and created major national and global awareness for FORM’s project. The 2014 festival was one of the largest street art festivals in Australia and was the largest in Western Australia to date. As the artists were painting designated walls, the general public was encouraged to observe, engage with the artists, and enjoy the outcomes. A large portion of the physical audience experienced the project with little prior knowledge of this type of art, and age and geographic demographic results for attending and engaging audiences presented unexpected outcomes. Presences reach had exponential gains in numbers in both the physical and Internet presences. Art in the City involved a diverse range of artists, with classically trained fine artists painting alongside PUBLIC
self-taught street artists, as well as a small number of developing early career practitioners. Participants hailed from across Australia, as well as 11 different countries, based in environments ranging from metropolises to regional communities. FORM staff were joined by a team of dedicated volunteers drawn from various walks of life, age groups, and previous artistic engagement. There were workshops held in both the City of Vincent as part of Dear William (detailed in that section) and the City of Subiaco. For the Subiaco workshops, two international artists spoke with students from ages 12 to 16 about their work, street art and graffiti history, and tips for pursuing artistic careers, facilitating a workshop in the Corner Gallery event space to teach and practice spray and painting techniques. Following the festival, FORM maintained Art in the City throughout 2014 with further engagements after the April events with local and national artists as well as an international visiting artist. These additional Art in the City murals were created in two of the previously painted suburbs, the City of Fremantle and the City of Perth, as well as a new location in the Town of Victoria Park. Additionally, there has been a noticeable increase in public commissions throughout the Perth metropolitan area for practicing local artists. FORM has also experienced increased inquiries from artists worldwide about the PUBLIC project and how they can become involved. FORM looks forward to PUBLIC 2015 and the new selection of talented artists it will bring to the public sphere.
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PUBLIC
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01. ' Infintas, ROA, Murray Street carpark. Photograph by Bewley Shaylor, 2014. 02. Untitled, Beastman and Vans the Omega, Murray Street carpark. Photograph by Luke Shirlaw, 2014. 03. Untitled, 2501, King Street Art Centre. Photograph by Luke Shirlaw, 2014. PUBLIC
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ART CITY
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ART CITY ESSAY BY ELIS H A BU T T LE R
“ Art is all over the city, on the widest walls, the tallest, the longest. It has grown big, almost overnight. “
This city. Cloudless and awash in light. Wide streets. Candescent melon sunsets. Water everywhere. The river swelling in from the hinterland, silver and broad. The western sides nibbled by ocean. Suburbs built over old swamps. On the one hand, great sandstone bricks elegant under sweeping verandahs, old and calm. On the other, stark white buildings stacked like blocks, reaching high. And then there’s the art. It is riotous in its colour, its scale. Commanding even in dainty detail. Art is all over the city, on the widest walls, the tallest, the longest. It has grown big, almost overnight. The art here blooms like nightshade. Unlike in some places, the art in this city is very much out in the open. But not just out in the open as in out of the galleries and the museums and the collections, but out in the open of the city itself. Here, even hidden in laneways or behind dumpsters it is a more overt art. And it doesn’t yet carry the grimy patina of a breathing, heaving city because it is still young art. It is here to be seen. Not waiting but waving.
LEFT PAGE. Maya Hayuk working on her mural as part of PUBLIC: Art in the City. Photograph by Bewley Shaylor, 2014.
The nature of the art growing here is partly due to the nature of this city itself. This wide city, this open city, this city that bounces and refracts light. It’s a city with open doors and windows, beckoning The Doctor–that pushy, refreshing ocean wind–to come right on in. This city’s heart has perhaps more open, unbuilt spaces than the heart of other cities. Walls that should be hidden in the awnings of other walls are exposed, unguarded. There is
ART CITY
little scope for shadows. Even the laneways here are wider, the old cobblestones lighter. And so the art that has come is an art that, by and large, evades shadows and embraces colour. This art is no shrinking violet. It eschews small spaces. It has immediate impact. It is high saturation, high octane, high-vis. art. However that’s not to say that this art is all about bolshie personalities or the strongest hues on the Pantone spectrum. Lots of it is, yes. But equally, much of the art here shows strength in its pencil-fine definition, its thumbprint detail, delicate finesse. Very probably, the nature of the art in this city also has something to do with the nature of how it came to seed–mostly through an idea called PUBLIC. It’s an assertive program that makes incredible art public, gifts it, as it were, to the people of this city (as well as remoter places). It bears the single word ‘public’ as its take-no-prisoners, uppercase title not merely because of the genre of art it welcomes and flourishes but as homage to the original meaning of the word. In essence, something of the people or for the people. A shared, democratic space. A new kind of creative commons. How have the people of this city responded? How do they respond to being in a place that springs new art upon them again and again? They stop. They can’t help themselves. The art is staring at them with a steady gaze and they have to stare back. And while it seems as though the walls
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and squares and lanes came to life overnight (and for certain they did come to life rather prolifically) in truth many of the people in this city saw the art as it happened.
and snobberies. It reveals something intimate and raw. Seeing a magnificent wall work come into being suggests that this is not art that dictates but art that shares.
And there is magic in that. You can see a star, and it is mesmerising in its sparkle and suggestion of the infinite. But then you see a nova exploding into being and that is something else. With a great piece of art, to see it for the first time as a finished piece is awesome because there is a mystery to its completeness— what does it mean, how did it come about, what tricks and techniques resulted in what is, essentially, a kind of visual apparition?
This is truly public art, as far as the common turn of phrase goes. And this city of art, en masse, has provided common ground on which to access art and the joy of creative process. People walk amongst it, sit in front of it, make friends and fall in love and dream big under it. Art is everywhere in this city.
But to see a great work as it is being constructed is to see a sleight of hand. You see the magic happen but you are still mystified by how this step and that step resulted in the final, glorious entity. First a blank space, or perhaps a space shedding unwanted layers of paint and render like skin. Then something is sketched out, suggestions of colour or form, (that’s if you’re lucky–not even that much might be revealed). A bit of this, a bit of that. Curiously vague. Gradually more layers are added, more segments activated, more space filled. Then, one seemingly routine morning there are cars grumbling at intersections and rubbish trucks lifting bins and people walking and the smell of ground coffee and (if the air’s damp) lemon eucalyptus, and it’s there! Finished and gobsmacking and even larger-than-life than you’d imagined it would be. There’s something to be said about being privy to process, especially process of this scale. It lets you in. For art, it breaks down barriers
But all this presumes the importance of art. Why is it good that art is everywhere? Why is it important that art is accessible, communicable? Art tells a story, that’s important. Stories represent diversity, they open minds to dreamy possibility as much as reality. So art is a language of sorts, and like language, it opens up the lines of knowledge and communication. Especially when displayed on a very public, material, physical scale. A city of art–of public art, of everywhere art–is therefore a city of stories, of languages, of speaking and listening in equal measure. A city of art wears its heart on its sleeve. It is open and accepting of the diversity of its people and its histories. It’s a confident city. It’s a generous and gregarious city. It hides nothing and offers everything. And, let’s not forget that a city of (great) art is beautiful. It’s a notion that may sound trite or unimportant. In fact any attribution of the term ‘beautiful’ to an idea or entity is fraught with unwanted connotations of superficiality or vanity–especially within the oeuvre of contemporary art. But if you were to think of beauty as
ART CITY
something utterly compelling, rather than pretty, then it warrants another level of consideration entirely. Thus a beautiful (compelling) city is something to aspire to. It promises a great experience, embodies a sense of intrigue, honesty, pride, respect. And because a beautiful city commands respect it also implores that the people inhabiting its space deserve respect, should be proud, and show pride and respect for others. These are the types of environments people want to be in, to stay in. To feel at home in. And that, maybe, is one of the simplest indictors of community, communal, public wellbeing: not only sense of place, but sense of home, sense of belonging. And so this city. Desert to the north, forest to the south. Its personality crafted by its isolation and continually recrafted by a long history of writers, artists, imaginers. All with different perceptions, all with different interactions and experiences. And this new art–this big, bright art that revels in sunlight and open spaces, and makes known the stories of its people–is also recrafting this city. Changing the way people move through it, understand it, understand each other.
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01. Entrance to PUBLIC House, Wolf Lane. Photograph by Bewley Shaylor, 2014. 02. Alexis Diaz working on his mural as part of PUBLIC: Art in the City. Photograph by Bewley Shaylor, 2014. 03. Lucas Grogan working on Dead Posh as part of PUBLIC: Art in the City. Photograph by Bewley Shaylor, 2014. 04. ROA working on ' Infinitas as part of PUBLIC: Art in the City. Photograph by Bewley Shaylor, 2014.
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PRIVATE AND SALON The PUBLIC Private exhibition ran for a limited time at the FORM Gallery in Perth, as a small, and intimate launch for FORM’s 2014 festival program. Occurring simultaneously with many of the PUBLIC artists beginning work on their large-scale murals, the exhibition showcased works held by a private collector who has long supported the street art genre, alongside curated works by selected PUBLIC participants. The exhibition included works by famous street artists Banksy, China Mike, Luke Cornish, Kyle HughesOdgers, Kid Zoom, Anthony Lister, Marina Marchesotti, Stormie Mills, and ROA. As a brief preview for stakeholders, potential sponsors,
members, participants, media, and guests of the FORM Board, the event proved an extremely successful introduction to the PUBLIC program. While the exhibition ran for only four days, it attracted approximately 600 visitors in this short time. Following Private was the Salon, a salon-style exhibition by invitation held at FORM Gallery. Salon exhibited works by local, national, and international artists and served as the official public debut of the PUBLIC Art in the City program of events. Local and participating PUBLIC artists were encouraged to submit works for inclusion, which were then curated by the FORM team. FORM members, sponsors, volunteers, special guests,
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P R I VATE A N D SA LO N
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01. PUBLIC Salon, installation detail. Photograph by Luke Shirlaw, 2014. 02. PUBLIC Salon, installation detail, mural by Kyle Hughes-Odgers. Photograph David Dare Parker, 2014. 03. PUBLIC Salon, installation detail. Photograph by David Dare Parker, 2014. 04. PUBLIC Salon, installation detail. Photograph by Luke Shirlaw, 2014.
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participating artists, and the general public were invited to attend the opening on the 11 April 2014, with the Right Honourable Lord Mayor of the City of Perth, Lisa Scaffidi, delivering the introductory address. The opening event attracted approximately 850 visitors, and ran concurrently with the first night of PUBLIC House, a laneway activation event as part of Art in the City taking place nearby in Wolf Lane. The two events shared a large attending audience, who meandered between the two locations over the course of the evening. PUBLIC Salon remained P R I VATE A N D SA LO N
open for public viewing until 31 May 2014, during which time over 3,500 visitors visited the exhibition over 51 days. PUBLIC Salon included over 100 artworks by participating PUBLIC artists, including paintings, sculptures, mixed-media and textile works, prints, and photographs. The majority of works were available for purchase, resulting in a total of $51,764 of sales. FORM will host another salon-style exhibition in Victoria Park as part of the 2015 PUBLIC program.
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P R I VATE A N D SA LO N
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“ Lailat Al Qadr, the night of power, refers to the night of revelation when the angel Gabriel first appeared to the prophet. The holiest day of the Islamic Lunar calendar, this night appears in the last quarter of the month of Ramadan. It was never recorded exactly which night, but it’s said to be recognisable for it’s sense of perfection. Each night of that final week I would watch the night sky, searching with all my senses to see what made tonight perfect. It turns out that every night sky is perfect. Abdul-Rahman Abdullah,
2013
”
05
05. Lailat Al Qadr, Abdul-Rahman Abdullah, conte on plywood, 120 x 120cm. Photograph by David Collins, 2013. Work exhibited as part of PUBLIC Salon 2014. P R I VATE A N D SA LO N
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P R I VATE A N D SA LO N
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P R I VATE A N D SA LO N
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PUBLIC HOUSE PUBLIC House began as a challenge to Perth’s creative community to explore the potential of creative place-making, with FORM offering up Wolf Lane in Perth’s CBD as their canvas: what can be achieved when we dare to innovate and imagine, explore and experiment in public spaces? How can blank walls and dead spaces be transformed into places that can engage pedestrians, ignite curiosity, and draw people in? The result was a weekend-long culmination of ideas and installations, demonstrating the potential of Perth’s overlooked urban spaces.
The linchpin of the weekend was the concentration of PUBLIC artists transforming facades throughout Wolf Lane into an outdoor public gallery. With this street art as its backdrop, PUBLIC House saw temporary installations by local designers, architects, artists, and students invigorate the laneway’s hidden nooks and unloved spaces. Over the two days, an unnoticed passage wall became the canvas for French poetry; an alcove, with the simple edition of colourful hanging tape, enticed children to play and dance under streamers; and con-cre-tef-ish, a concrete panel containing a secret image only visible when sprayed by water pistols, provided endless entertainment for passers-by. The transformation of a rundown carpark proved to be a highlight of the weekend. During the day, a collective of local, national, and international artists converted the building’s heavily-grafittied walls into a gallery of urban art. By night the space came alive with a popup bar and line-up of local DJs and musicians. As night rolled on, the crowd grew and the laneway came alive with colour, sights, and sound. VJzoo’s colourful projections lit up the grey walls, responding to the movement of passers-by, while PUBLIC artist Yandell Walton installed two projection works that employed digital technology to poetic effect.
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FORM was delighted at the response of Perth’s creative community to our challenge, and while the event provided PUBLIC with a riotous, celebratory hub, some of PUBLIC
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PREVIOUS SPREAD. Bar Pop, PUBLIC House, with murals by (L-R) Andrew Frazer, Paul Deej, and Ian Mutch. Photograph by Bewley Shaylor, 2014. 01. Wolf Lane, PUBLIC House, with con-cre-tef-ish by Tom Blake. Photograph by David Dare Parker, 2014. 02. Bar Pop, PUBLIC House, with murals by (L-R) Jetsonorama, E.L.K., Anya Brock, Hurben, and Andrew Frazer. Photograph by David Dare Parker, 2014. 03. Wolf Lane, PUBLIC House, with (L-R) Fairlight CVI projection by VJ Zoo, and 10 by Replant. Photograph by Luke Shirlaw, 2014.
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House’s quietest moments were its most memorable. In contrast to the pumping beats of the carpark DJs, the barely audible strumming of a guitar emanated from Folk in a Box by Joel Barker: an intimate installation that offered performance of a different kind. After waiting their turn on couches, visitors were welcomed through a cupboard door where a single carbay had been converted into a
stage for two, the performer and the visitor, who was treated to a private musical performance. Sitting in the darkness listening to a melodic voice and smooth folk guitar would be a highlight for many PUBLIC House guests. PUBLIC House showed that given the right opportunities, Perth’s creatives are ready to make a difference to our city.
PUBLIC HOUSE
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DEAR WILLIAM
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DEAR WILLIAM, A DEDICATION TO WILLIAM STREET “ The works aren’t as loud as the murals that you see around, they have a quietness to them, and almost are wilfully setting themselves up to be overlooked, in a way. And I thought that was an interesting set of aesthetic strategies, to actually fall into the crevices; not for the art or the aesthetics to try to push out and conquer something, but to actually reverberate with the history of the place. Dr. Robert Cook
C U R ATO R A R T
GALLERY OF WESTERN AUSTRALIA
“
LEFT PAGE. Audience viewing someone else’s king and someone else’s country, Abdul Abdullah, type C print on lightbox, 160 x 80 x 20cm, installed in front window of the Moon Cafe. Photograph by Bewley Shaylor, 2014.
Dear William was curated by FORM in partnership with the City of Vincent, as an affectionate dedication to one of Perth’s most iconic streets. The project focused on ‘central William Street’ (as it runs north of Newcastle Street) and its surrounding neighbourhood. This very small precinct – less than 1 square km – is incredibly diverse historically, particularly in relation to Perth’s migrant communities, the majority of whom initially settled within it upon arrival in Australia. Western Australian artists Abdul Abdullah, Abdul-Rahman Abdullah, Casey Ayres, and Nathan Beard, and European-based photographer Nigel Bennet were all invited to undertake residencies in the precinct; these artists are all known for working with community groups to develop collaborative or site-informed projects. A mural by Italian street artist 2501 was simultaneously commissioned for the project, and a number of complementary works were selected from the broader PUBLIC program to reflect the cultural diversity of the precinct. These artworks showed in locations along William and Newcastle Streets in the form of a walking tour for PUBLIC’s closing event, with select works re-showing at the project’s Newcastle Street pop-up space in early May. Dear William’s curatorial approach was intentionally non-monumental. Dr. Robert Cook, at the exhibition’s artists’ talks event, described the artworks as ‘incredibly quiet’: ‘The works aren’t as loud as the murals that you see around, they have a
DEAR WILLIAM
quietness to them, and almost are wilfully setting themselves up to be overlooked, in a way. And I thought that was an interesting set of aesthetic strategies, to actually fall into the crevices; not for the art or the aesthetics to try to push out and conquer something, but to actually reverberate with the history of the place.’ Even those mural artworks produced for the project reflected this quality of understatement in their restrained palettes of black, white, cream, and grey, and ‘nonheroic’ locations, overlooking carparks and largely set back from the street. The residency artists meanwhile created works that reflected their own relationship to the precinct, as much as that of the individuals who interact with it on a daily basis. Casey Ayres’ work drew upon the artist’s Chinese-Malay/Australian heritage: in collaboration with the Chinese Community Centre Lion Dance Troupe, Ayres documented a performance work that placed the lion dancers in and around William Street during March, 2014. While a familiar sight during Chinese New Year, the lion took on a more subversive character outside of this context, challenging passing pedestrians to acknowledge cultural histories they may overlook for the rest of the year. While the precinct’s Chinese community dates to the late nineteenth century, recent decades have seen equally strong affiliations with south-east Asia, via immigration from Vietnam, Indonesia, Malaysia and Thailand. Nathan Beard’s
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01. 800 Minutes, 2501, Washing Lane. Photograph by Bewley Shaylor, 2014. 02. Adding to the collaborative map at Nigel Bennet’s pop-up photographic studio and exhibition space. Photograph by Jean-Paul Horré, 2014. 03. Video Home System, Nathan Beard, digital video, installed at Kai Pu Thai Entertainment. Photograph by Bewley Shaylor, 2014.
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DEAR WILLIAM
'
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north-facing wall of Perth Mosque that acknowledged the significance of lunar cycles to a number of religions. The work situated itself firmly within Islamic tradition, while simultaneously opening out in a gesture of inclusivity, aptly reflecting the cultural mix of the precinct, which alongside the Mosque has housed two synagogues, a VietnameseBuddhist temple and places of worship for Christian and Chinese communities, over the past century. Photographer Nigel Bennet was artist-in-residence in the Central William Street Precinct from March-May 2014, developing works in consultation with numerous local business owners and employees, and current and former residents. Participants were asked to relate, reinterpret, or re-stage anecdotes relating to the area, resulting in a series of collaborative images from the precinct’s history that conflated its past, present, and future. Again, understatement and intimacy were central to Bennet’s project, his subjects largely relating intimate moments of personal significance or catharsis, rather than heroic narratives or melodrama. Finally, internationally-renowned Italian street artist 2501 created a striking mural for the new Washing Lane development, a site reflecting the precinct’s gentrification during the past decade (its first in 180 years). In a street with over a century of history relating to the state’s Italian community, his work provided an assertive statement of cultural identity. Complementing these residency projects delivered in partnership with City of Vincent were works by a number of artists from FORM’s broader PUBLIC program. The first
Turner Gallery Art Angels residents for 2014, The Yok and Sheryo produced the exhibition Nasty Goreng at the leading local gallery in association with PUBLIC, which drew upon the decorative traditions of Indonesia. The pair additionally created a mural for the adjacent carpark, complemented by a mural by PUBLIC artist Jaz, and a facade treatment for the gallery by local artist Trevor Richards, a founding member of the Australian Centre for Concrete Art collective responsible for numerous large-scale minimalist and geometric-abstract murals throughout Perth and Fremantle. Dear William additionally featured works by young clients of the Salvation Army Doorways Program, mentored by street artists Ian Strange and Daek William, former members of iconic street art collective Last Chance who called William Street home until 2010. Dear William, a dedication to William Street was viewed by more than 2,500 people, not including the many thousands of pedestrians who encountered the works during their initial installation along William Street, or those who have since viewed the permanent murals. An evening of artists’ talks by a number of the participants and hosted by Dr. Robert Cook, took place at the project’s pop-up gallery space for 65 people including the Major of Vincent John Carey, on 2 May. FORM is grateful to the William Street communities who attended these talks, and indeed participated in the project and helped to make Dear William so richly meaningful and rewarding.
DEAR WILLIAM
RIGHT PAGE. Audience viewing Calendar, Abdul-Rahman Abdullah, single channel video projection on Perth Mosque extension, 60 second loop. Photograph by Bewley Shaylor, 2014.
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DEAR WILLIAM
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URBAN ART WALKS The PUBLIC Urban Art Walks were initiated by FORM in 2014 in order to provide a guided walking tour of the murals created throughout PUBLIC Art in the City. Led by a dedicated FORM team member with occasional guest street artist speakers, the walks run from the FORM offices in the King Street Arts Centre to the two main nodes of artistic activity in the Murray Street Car Park and Wolf Lane. Extended sessions are then directed over Perth’s iconic Horseshoe Bridge to take in the Beastman and Vans the Omega collaboration at 140 William, before continuing on to see selected Northbridge murals by Ever, Pixel Pancho, and 2501. The urban walks culminate with an informal refreshment at Northbridge bar, The Mechanics Institute.
“ Surveys on the Urban Art Walks demonstrate that 99%
The PUBLIC Urban Art Walks have appealed to a broad demographic of Perth residents and visitors, with tourists taking part from as far afield as North America. The age groups engaged by the walks have varied as well, with a number of student groups from local high schools attending, and the largest attendee demographic stemming from women over 50. These have been unexpected but welcome outcomes because their presence means the walks have encouraged people to embrace their city in a new way, allowing them to explore uncommon areas and enjoy art they may not have previously experienced. Other attendees include both volunteers and the Friends of the Art Gallery of Western Australia, secondary school visual art classes, and Mayors and Councillors from several Perth suburbs. The PUBLIC Urban Art Walks have also attracted significant media attention including local blogs, Scoop magazine (print and online), and Tiger Tales (Tiger Airways’ inflight magazine). FORM is currently planning the next instalment of the PUBLIC Urban Art Walks to commence after PUBLIC 2015.
of attendees agree that it is important that an urban art project is happening in Perth. “
01. Urban Art Walk Tour near Phlegm’s mural, Murray Street carpark. Photograph by Matt Biocich, 2014.
PUBLIC URBAN ART WALKS
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ART IN THE PILBARA
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ART IN THE PILBARA
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LEFT PAGE. Untitled, Remed, Old Roebourne Airport. Photograph by Ben Fulton-Gillon, 2014. 01. Flatback Turtle, Amok Island, Port Hedland. Photograph by Bewley Shaylor, 2014.
In order to promote creativity throughout Western Australia, FORM enables artists to experience and work in remote areas through short and long-term residencies, and in 2014 this was focused in the Pilbara, and in particular, Port Hedland. PUBLIC Art in the Pilbara served as the regional continuation of the 2014 PUBLIC program and comprised numerous residencies in the region between March and August. In addition to a suite of murals for Port Hedland’s historic West End, the program lead to unique artistic outcomes from some of the world’s best-known street artists, strewn throughout the spectacular Pilbara landscape on abandoned automobiles, concrete shelters, forgotten trailers, and disused airplane hangars. PUBLIC Art in the Pilbara began prior to the main PUBLIC festival, via residences by Melbourne-based Aboriginal street artist, Reko Rennie, and American doctor and recent
ART IN THE PILBARA
street artist/activist, Jetsonorama. The project then continued with a large group of international visiting artists conducting a short term residency to explore the region in April. The PUBLIC artists flew into Karratha and drove to Port Hedland via Roebourne and Millstream National Park over four days, engaging with the local landscape and communities. During the June West End Markets, FORM invited internationally renowned street artists The Yok & Sheryo to install a mural as part of the Wedge Street Activation program. Finally in August, Mexican street artist Saner, and Western Australians Amok Island and Andrew Frazer were commissioned to produce further murals in Wedge Street during the North West Festival. All commissioned artworks drew inspiration from the unique regional environment, and Saner and Amok Island were also able to explore the countryside between Roebourne and Port Hedland on a day trip during their short stay in the region. Maps showing the locations of the commissions as well as ‘unofficial’ site-specific ephemeral artworks were produced and distributed by FORM at the West End Markets during the North West Festival, and made available in the Port Hedland Visitor Centre and the Courthouse Gallery. 89% of Port Hedland survey respondents agreed that the newly added Wedge Street commissions by The Yok and Sheryo, Andrew Frazer, Saner, and Amok Island improved the area. Furthermore, the extensive media coverage at both the local and national level,
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02. Untitled, Phlegm, Port Hedland. Photograph by Brendan Hutchens, 2014. 03. Untitled, Amok Island, Roebourne. Photograph by Bewley Shaylor, 2014. 04. Untitled, Saner, Wedge Street, Port Hedland. Photograph by Bewley Shaylor, 2014.
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05. Untitled, the Yok & Sheryo, Port Hedland. Photograph by Bewley Shaylor, 2014. 06. Untitled, Andrew Frazer, Wedge Street Cafe, Port Hedland. Photograph by Bewley Shaylor, 2014.
including a Radio National interview with Mexican artist, Saner, suggests Art in the Pilbara has been a positive addition to FORM’s ongoing regional programming. The international interest in Port Hedland as an unlikely street art destination has slowly been gaining momentum since FORM first began to commission artists to produce site-specific works there in 2011. Now formalised into an annual program introducing regional Western Australia to local and visiting international artists,
ART IN THE PILBARA
PUBLIC Art in the Pilbara will maintain an exchange between the region’s spectacular landscape and the artists who are inspired by it.
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PUBLIC 100 HAMPTON ROAD
BHP
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for Fremantle Hospital. Eva has been getting to know the building’s current residents and interviewing former nursing students who lived there during the 1960s and 70s, while undertaking historical research with the assistance of Fremantle Hospital.
Resident Creative Engagement
“ I really enjoy cooking and working together and sharing the food. Mike,
“
RESIDENT
Resident engagement initiatives have included a shared lunch program coordinated by Sophie Budd from Taste Budd Cooking Studio, a collaborative mapping project highlighting the best of the Fremantle area for new residents, bike building workshops by Dismantle, and a furniture making program run by Andrew Christie of A Good Looking Man. The shared lunch program has been very successful as a central engagement initiative; structured as a cooking class followed by a shared meal, the program has averaged 25 residents a week, with 41% of residents having attended a shared lunch at some point during 2014.
Building Beautification Alongside the installation of murals, FORM’s program of building beautification saw 20 residents
work side by side with the FORM project team refurbishing the central common room, balcony and ladies dining room on Level Two. In November, the lobby and five other common spaces were redesigned using furnishings donated by BGC. Residents and volunteers from BHP Billiton worked together to transform these spaces. Throughout the year, AECOM have contributed their design expertise to assist with reimagining the outdoor spaces, the outcomes of which will be seen in 2015.
Community Engagement Though only a secondary focus during the first year of the project, preliminary engagement activities have included the creation of the 100 Hampton Road brand (for products developed through the workshop programs), presentations to local networks and community meetings, and the development of a newsletter for residents and the local neighbourhood. Contributors to the Fremantle Foundations Impact 100 Grant toured the building in October and were hosted by residents at a shared lunch. A tour of 100 Hampton Road for BHP
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02. Corrigin cooking with Simon Bryant at the Food Rescue pop up. Photograph by Jean-Paul Horré, 2014. 03. Hippocampus Subelongatus, Amok Island, 100 Hampton Road. Photograph by Jean-Paul Horré, 2014.
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“ This is the only time I really get out of my room.
Billiton staff was held in November, with residents taking the initiative to invite Mayor of Fremantle Brad Pettitt. Residents both hosted and catered the event.
Derek,
Residents additionally ran a market stall as part of the Garage Sale Trail in Kings Square, Fremantle during November, selling stools and planter boxes from A Good Looking Man workshops, as well as jams and chutney created during the cooking workshops. The stall was an unprecedented success, selling out of all stock and taking a number of orders. A second stall at the Growers Green Market in December resulted in another sell out day, with handmade decorative Christmas trees and festive chutneys and preserves joining the 100 Hampton Road range.
“
RESIDENT
Program Impact Evaluation of the program has found that residents who have participated in engagement initiatives have PUBLIC 100 HAMPTON ROAD
enjoyed the experience, and that their involvement has contributed to a sense of wellbeing and greater connection. This is particularly the case for regular participants, who have described improved mental health outcomes and enhanced self-confidence since joining the program. Two residents have been offered fulltime employment as an outcome of their participation in the program and a further ten have been offered casual employment. In November, FORM’s application for Impact100 funding was successful in generating $100,000 for the commercial upgrade of the kitchen at 100 Hampton Road, to allow for the expansion of the cooking program in 2015, when FORM also looks forward to new artist residencies and new streams of resident workshops.
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04. Andrew Christie, of A Good Looking Man, with completed stools after workshop. Photograph by Jean-Paul Horré, 2014. 05. Resident-maker John selling product from A Good Looking Man workshops at the Garage Sale Trail. Photograph by Jean-Paul Horré, 2014. 06. Peter after creating a stool for his room in A Good Looking Man workshops. Photograph by Jean-Paul Horré, 2014. 07. Residents with product from A Good Looking Man workshops at the Garage Sale Trail. Photograph by Jean-Paul Horré, 2014. 06
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“ I am so excited, I’ve asked my son up to visit on Wednesday. I really want to show him what his Mum is doing, the cooking, the chutney, the furniture I’m making and I want to introduce him to bike mechanics.” Kat,
RESIDENT
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THIS PAGE. Tracy and Andrew in A Good Looking Man workshops. Photograph by Jean-Paul Horré, 2014. PUBLIC 100 HAMPTON ROAD
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01. After the Tea Party (detail), Eva Fernandez, photographic print, dimensions variable, 2014.
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“ This artwork pays homage to the times shared and women and who lived at 100 Hampton Road during its life as nurses’ accommodation for the Fremantle Hospital. It is a kind of memorial to the end of the era, when the nurses would socialise over cups of tea. This can also be seen as a significant ritual of the people who now inhabit the space, as they also congregate over cups of tea and conversation. Eva Fernandez,
2014
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02. Kathleen Johnny in Tom Price, photograph by Claire Martin/Institute, 2014.
ONCE UPON A TIME IN THE WEST
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01. Marshall Smith on Mingullatharndo Community, photograph by Claire Martin/ Institute, 2014.
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02. Dr Maryanne Jebb and Irene Coffin at the Perth opening of Marlbatharndu Wanggagu - Once Upon a Time in the West. Photograph by Bewley Shaylor, 2014. 03. Sheila Sampi on her verandah with her two pet dogs. Photograph by Claire Martin/Institute, 2014. 04. David Cox on his porch at Bellary. Photograph by Claire Martin/Institute, 2014.
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05. Cowra Outcamp, Shearing Shed. Photograph by Claire Martin/Institute, 2014. ONCE UPON A TIME IN THE WEST
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portray, reflecting how the IBN participants were part of the photo taking process, both present and curious. It was not always possible to travel to stations where people had worked, due to displacement and distance from traditional Country. Through conversations and discussion, Claire suggested that the few objects people owned were also photographed; these objects function to delineate time, place and people from when station work was a way of life. While people had few resources available, they often showed a willingness to explore and exploit aspects of the nonAboriginal world, such as the new experiences offered by cars, which were seen as prized objects and a symbol of independence. Reko Rennie’s installation created for the exhibition at Perth’s FORM Gallery, features a 1954 international AR 110 truck which was converted into a symbol of Aboriginality. Reko, who is one of Australia’s most significant contemporary Aboriginal artists,
produced the car, extending his practice to using ‘one shot’ enamel sign writing techniques, playing with nostalgic graphics from a bygone era. Reko also undertook a trip to the Pilbara from Melbourne so he could visit Roy Hill Station with an elder, and over three days heard his stories of being on the station. Reko developed insignia featuring four symbols that connect with Aboriginality and the pastoral industry. A stockman’s hat is a symbol of masculinity, independence, and reliability, while the yandi dish, originally a traditional cot for babies and a domestic implement for gathering fruits and vegetables which, ultimately came to represent independence and played an important role in the 1946 Pilbara Strike. The spears represent the strictness, and discipline of traditional culture, which was implemented on the station. These divergent symbols are not seen in opposition, rather, as the title of the show references, Aboriginal people appropriated symbols of cowboy culture, to make it their own. Exploring ideas of sovereignty, Reko utilised the
06. Audience at Marlbatharndu Wanggagu Once Upon a Time in the West launch, South Hedland Town Square. Photograph by Bewley Shaylor, 2014.
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reference people in the Pilbara made to pastoralists as squatters, and chose to use the didactic statement, Pastoralists = Squatters as a key message in his work.
cultural significance on Google’s Cultural Institute, which represents the first time a Western Australian arts organisation has participated in this platform.
With support from management, the South Hedland Shopping Centre became a site for the installation of paste ups and photographs developed during the project. The Shopping Centre is a central hub for community from a range of backgrounds to congregate, and provided a site for the project launch, which attracted 300 people and reached a new Aboriginal audience. Guests enjoyed a temporary exhibition of Claire Martin’s photography as well as music by the Blackstone Ramblers and traditional songs by Banyjima, Yinhawangka, and Nyiyaparli elders. The exhibition also showed at FORM Gallery in Perth, accompanied by a moving opening night talk between participating artists, writers and community members, and is currently featured as a project of
The Pilbara, with its intense history, represents a contested landscape where Aboriginal people have built their lives, created legacies and institutions, while struggling for their freedom. Marlbatharndu Wanggagu did not set out to diminish the significance of the Station, but rather to help us properly examine the conditions under which Aboriginal people existed. Family and Country provided freedom in a system fundamentally unfree. The qualities of storytelling, humour and kinship have provided a way of expanding the possibilities of Aboriginal freedom, and continue to do so.
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07. Stock Boys, paste up inspired by Jetsonorama, Roy Hill Station. Photograph by Sharmila Wood, 2014. 08. Paste up inspired by Jetsonorama, South Hedland Shopping Centre. Photograph by Sharmila Wood, 2014. 09. Yandicoogina David Stock. Photograph by Claire Martin/Institute, 2014.
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UNEXPECTED JEWELLER
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UNEXPECTED JEWELLER
LEFT PAGE. Concept sample, found materials and paint, Yuko Fujita. Photograph by Bewley Shaylor, 2014. 01. Sharyn Egan and Nicky Hepburn gathering materials at Cooke Point Beach. Photograph by Bewley Shaylor, 2014.
In 2014 FORM presented Unexpected Jeweller, a creative development and residency program designed to inspire new possibilities for object making and jewellery. Contemporary jewellery is at the intersection of art, design, and craft, and offers broad possibilities for the interpretation and exploration of materials. Unexpected Jeweller program offered four prominent Australian jewelers, Yuko Fujita, Nick Hepburn, Pennie Jagiello, and Natalia Milosz-Piekarska, residencies at the brand new Spinifex Hill Studios in Port Hedland in Western Australia’s North-West. As part
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of their residencies the jewellers offered workshops to the local arts community and undertook more intensive professional and skills development workshops with Aboriginal artists from across the Pilbara to explore three-dimensional work. The essence of the skills that underpin jewellery has much to teach designers, especially regarding the way that an object is touched, worn, or experienced. Each of the workshops were inspired by and based on materials found in the Pilbara landscape, whether they be natural or man-made. FORM’s Spinifex Hill Studios provides an
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“ The Pilbara is a land I never see, there is nothing as beautiful as this, or at least not in the same way. It is raw and extreme. This is evident in the colours, they are extreme, and yet muted.” Nicky Hepburn,
2014
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THIS PAGE. Unexpected Jeweller workshop outcome, Jill Churnside. Photograph by Bewley Shaylor, 2014. UNEXPECTED JEWELLER
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excellent space for collaborative and innovative work to come out of workshops and residencies and have a dedicated space for exploration of the 3D materials and practices. This space is particularly crucial for the delivery of FORM’s Land. Mark.Art development program. Land.Mark.Art is a one-of-a-kind model for the creative development and engagement of artists looking to explore 3D arts practice. The model has a dual function: not only does it result in high quality work produced to industry standard, it also operates as a professional development program enabling artists already highly skilled in their artistic practice to expand into large-scale 3D work. After completing their residencies the established jewellers and a select number of Aboriginal artists were brought together again at the Studios to undertake an intensive series of Land.Mark.Art workshops.
The aim of this was for both established and emerging artists to expand their practice and to develop concepts for large scale three-dimensional artworks in response to the Pilbara. In March 2014, as part of her residency, Pennie Jagiello delivered a workshop focused on her ethos of using only recycled and reclaimed materials to create unique, sustainable, and wearable objects inspired by a love of the sea. Artists were challenged to push the boundaries of making, working outside of traditional jewellery-making techniques to create art from man-made debris. Natalia Milosz-Piekarska delivered a Creative Bootcamp in April, which encouraged participating artists to develop their concepts through challenging, interactive, and unexpected activities. In May, Nicky Hepburn investigated what ties people to the land, and to a UNEXPECTED JEWELLER
particular place in that land. By taking participants on walks through the landscape to gather objects and materials, Nicky explored the connections between people, places, and the objects that are found there. She then taught participants some core skills, allowing them the ability to use the found materials to create and reflect a narrative sense of place. Yuko Fujita explored the process of model making with paper, developing shapes and forms, and the use of colour in her workshop in July. The outcomes from the jewellery workshops and the Land.Mark.Art process will be showcased in a national touring exhibition in 2015, which will feature a new body of work from each of the exhibiting artists based on their experience in the Pilbara, as well as Land.Mark.Art workshop participants Jill Churnside, Merinda Churnside, and Sharyn Egan.
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LEFT PAGE. Concept sample, found materials and paint, Yuko Fujita. Photograph by Bewley Shaylor, 2014. 02. Jill Churnside and Nicky Hepburn in Land.Mark.Art workshop at Spinifex Hill Studios. Photograph by Bewley Shaylor, 2014. UNEXPECTED JEWELLER
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“ My mother’s participation in this program has led to the commissioning of her first major sculptural work, First Contact for Elizabeth Quay, one of the highestprofile urban developments ever undertaken in Western Australia. This represents a milestone in the practice of one of the senior-most Noongar contemporary artists, and a significant cultural legacy for Western Australia.” Brett Nannup,
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ARTIST
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LAND.MARK.ART The Land.Mark.Art model has provided training to over 55 artists living in Perth and Port Hedland and has resulted in 30 public art commissions in Karratha, Port Hedland, and Perth. Established in 2010, Land.Mark.Art is a creative professional development model designed to build new skills, income, and employment opportunities for Aboriginal artists. It was founded with the specific aim of enhancing opportunities afforded to Aboriginal artists through public art initiatives. With access to curators, arts facilitators, designers, engineers, and fabrication facilities, Land.Mark.Art offers Aboriginal
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01. Laurel Nannup with model for First Contact, Land.Mark.Art workshop. Photograph by Carolyn Karnovsky, 2014. LAND.MARK.ART
artists, many of whom come exclusively from two-dimensional visual arts backgrounds, the opportunity to diversify their skills and develop large-scale sculptural works for the public realm, thereby allowing them to access new opportunities while preserving and celebrating Aboriginal culture. Public art produced through the Land.Mark.Art model offers rich rewards for a local community, serving practical needs, adding interest and opportunities to interact with local places, and, through the creative expression of the artists involved, articulating important cultural stories and histories.
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LAND.MARK.ART
First Contact
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Sites of FORM’s public art projects in development CLOCKWISE FROM TOP: 570 William Street, Perth (ABN Group); Quattro Residential Development, South Hedland (BHP Billiton); Midland Public Hospital, Midland (St John of God Midland Health Campus Ltd); Old Treasury Building, Perth (Mirvac); Pretty Pool Providore, Port Hedland (BHP Billiton); Karratha Quarter, Karratha (LandCorp); Bassendean Shopping Village, Bassendean (Hawaiian).
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PUBLIC ART
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01. In Rainbows, Nike Savvas, suspended sculpture for Terminal 1 arrivals at Perth Airport.
FORM’s Public Art program aims at both artistic excellence and community development. 2014 has seen our public art team grow to match the ever increasing demand for our consultancy services that span all stages of artwork development. FORM works collaboratively with architects, developers, fabricators, government, the private sector, and artists from Perth, regional WA, Australia and around the world to deliver site specific public art projects. FORM believes public art plays a vital role in communities, both by integrating art into people’s everyday lives, and by offering artists the opportunity to communicate with non-traditional arts audiences. FORM actively seeks out public art projects that will have lasting impact, and we encourage work that
PUBLIC ART
responds to the site’s environmental, historical, and cultural context. To this end, and to ensure that art in public spaces is as diverse as possible, FORM offers emerging and first-time applicants assistance in applying for public art opportunities. Our ability to assist first-time applicants is further enhanced by our full-service approach, which includes stakeholder engagement, creative development and strategy, curation, design, fabrication, installation, and ongoing programming. Throughout 2014 FORM substantially added to our portfolio of projects with the ability to leave a significant cultural legacy for Western Australia. This year FORM has commissioned 28 artists for new projects across Perth and the Pilbara, including high profile American artist Ned Kahn for
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Brookfield Place, best known for his kinetic, environmentally responsive sculptures. Australian artist Nike Savvas, who has built a significant international profile through commissions for Nike, Louis Vuitton, Deutsche Bank, and Selfridges, was one of eight artists commissioned by Perth Airport as part of their new Public Art Program. In 2014 FORM also developed, managed or implemented public art commissions for the following projects: • 570 William Street, Mt. Lawley • Bassendean Shopping Village, Bassendean • Brookfield Place Tower Two, Perth • Claremont on the Park, Claremont
• • • • • • • • •
Crown Towers, Perth Elizabeth Quay, Perth Hyatt Hotel, Perth Karratha Quarter, Karratha New Perth Stadium, Perth Old Treasury Building, Perth Perth Airport, Perth Pilbara Rest Stops, Pilbara Pretty Pool Providore, Port Hedland • Quattro Residential Development, South Hedland • St. John of God Midland Public and Private Hospitals, Midland
02. Flock, Helena Bogucki, shade screen at Bassendean Shopping Centre. Photograph by Bewley Shaylor, 2014. 03. Flock, Helena Bogucki, shade screen at Bassendean Shopping Centre. Photograph by Bewley Shaylor, 2014.
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THIS PAGE. A Thousand Lights, Kyle Hughes-Odgers, Co-Generation Building, Perth Airport. Photograph by Bewley Shaylor, 2014. PUBLIC ART
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01. Untitled, Maggie Green, acrylic on canvas, 64 x 67cm, winner of the Kathy Donnelly Judges’ Award at the Hedland Art Awards. Photograph by FORM, 2014. 02. Marble Bar, My Country, Selena Brown, acrylic on canvas, 91 x 91cm. Photograph by Bewely Shaylor, 2014. FOLLOWING PAGE. Spinifex Hill Studios. Photograph by Bewley Shaylor, 2014.
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“ I’ve been with the Spinifex Hill Artists since the beginning – we’ve all come a long way. I’ve been so blown away by everything. I never thought this would happen in this town and now we have a new studio it’s really marvellous. Irene Coffin,
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SPINIFEX HILL ARTIST
the 2014 Cossack Art Prize. In October the Spinifex Hill Artists also presented Mollycamp and Landscapes, the group’s first solo shows in five years, at the Courthouse Gallery. Four artists have also been chosen to exhibit at the Mornington Peninsula Regional Gallery in January 2015. In addition to the increase in artist numbers and rise in the quality of work there has been an increase in the consistency and variety of workshops being offered and delivered. In 2014 ten workshops have been delivered over 17 days for the artists. These focused on painting, sculpture, textiles and design, jewellery, and object-making. In the past year, 12 artists have also been involved with FORM’s Land.Mark.Art program which sees artists transform their twodimensional work into large scale three-dimensional designs suitable for public art. The Land.Mark.Art SPINIFEX HILL STUDIOS
collaborations have resulted in seven artists receiving significant commissions for public art installations at sites in Hedland and across the Pilbara. The Spinifex Hill Artist group has also been supported by consistent exposure in the marketplace with nine market stalls and three painting demonstrations in 2014. The artists have attracted a growing number of local and interstate visitors to the studio. All of the above are notable achievements in their own right, but they are made even more significant when considering the context of Aboriginal arts development in Western Australia, as an industry facing constant challenges to stability and sustainability, and in a cultural climate that sees artists, their families and communities facing significant social and economic issues.
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03. Untitled, Maggie Green, acrylic on canvas, 67.5 x 64cm. Photograph by Bewely Shaylor, 2014. 04. Untitled, Doreen Chapman, acrylic on canvas, 90 x 90cm. Photograph by FORM, 2014. 05. Cattle Pool, Sonya Edney, acrylic on canvas, 91.5 x 92cm. Photograph by Bewely Shaylor, 2014.
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PORT HEDLAND COURTHOUSE GALLERY Since 2008 FORM has managed the Courthouse Gallery, redeveloping the physical space and implementing exhibitions, artist development, and public programs that aim to enrich and illuminate the cultural experience of the Pilbara region. The gallery has been at the centre of FORM’s programming in the Pilbara, providing a place where the broader community can access and engage with the creative aspects of their local community as well as the rest of the country. The gallery provides important opportunities not only for local artists to showcase their work, but for artists and the general community to have access to cultural expressions from outside of the region, enriching the experience of the local creative industries. The 2014 exhibition program delivered a diverse array of local, national, and international talent. In February, two exhibitions were launched, Caught on the Wind by Leonie Cannon and Sharon Jack and Growing up in Port Hedland by David Hooper, with the former consisting of works on canvas and the latter featuring works on canvas and mixed media. Both exhibitions proved extremely popular with the local community, with 1,380 people attending the exhibition and 35 new works produced. Following these, in March the Courthouse Gallery launched Helen Ansell and Peta Riley’s Floribundus, which featured Helen Ansell’s stylised floral canvases and the pair’s foray into translating Helen’s work into textiles under the banner of Mulla Mulla Designs. In May, the gallery showcased works by seven
Karntimarta Brush Artists, which was well received with 1,508 visitors and 22 new works created. May marked the Martumili Artists’ first return to the Courthouse Gallery since 2006 with Martumili Marlakurrinpa, featuring 26 of their signature bright canvases. Alongside the Martumili artists was Renee Hay’s solo exhibition Inhabit, an exhibition of charcoal and ink drawings and sketches by the Port Hedland local. 1,936 people attended both exhibitions. After the Hedland Art Awards in August, the Courthouse Gallery launched its final three exhibitions of the year. It’s What You See with works by Diana Boyd, Melissa North, and Naomi Stanitzki who worked collaboratively in their different styles to produce a uniquely varied view of the Pilbara landscape. At the same time, Spinifex Hill Artist Winnie Sampi launched Landscapes, a collection of acrylics on paper, and a group show of Spinifex Hill Artists, Mollycamp, presented a body of work produced in Molly Woodman’s front driveway and at Spinifex Hill Studios.
RIGHT PAGE. Kunawarritji Ngurra, Nora Wompi, acrylic on linen, 61 x 91cm. Photograph by Bewley Shaylor, 2014. FOLLOWING PAGE. Mollycamp, installation detail, (foreground) Marble Bar, Selena Brown, acrylic on canvas, 90 x 60cm. Photograph by Bewley Shaylor, 2014.
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PORT HEDLAND COURTHOUSE GALLERY
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FORM OVERVIEW
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FORM OVERVIEW
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01. Untitled, Bugai Whylouter, acrylic on canvas, 91 x 12cm. Photograph by Bewley Shaylor, 2014. FOLLOWING PAGE. Emu Tracks to Puntawarri detail, Judith Anya Samson, acrylic on linen, 150 x 150cm. Photograph by Bewley Shaylor, 2014. PORT HEDLAND COURTHOUSE GALLERY
Waterholes in our Country around Jigalong
landscapes
inhabit
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2014 HEDLAND ART AWARDS
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01. Audience viewing work at the 2014 Hedland Art Awards. Photograph by Bewley Shaylor, 2014.
FORM’s activities in Port Hedland offer a unique, effective, and inclusive model for community development, one which uses creativity as a means of finding imaginative solutions and inspiring possibilities. The Hedland Art Awards and associated program of activities are a pivotal component of FORM’s regional program. The 2014 Hedland Art Awards celebrated cultural growth and creative excellence in regional Western Australia, inviting entries from artists in the Pilbara, Kimberley, Mid-West, and Gascoyne. Approximately 155 entries were received and 85 of these artworks were selected for inclusion in the Awards. Due to the high quality of works entered, the Awards demonstrated an increased level of competitiveness 2014 HEDLAND ART AWARDS
and overall artistic excellence in 2014. The significant prize pool ($60,000 in total) ensures that the Hedland Art Awards attracts the top artists and work from the best art centres in regional Western Australia. In 2014 the Hedland Art Awards attracted works from two Aboriginal Art Centres that have never before entered work into the Awards: Warrangarri Arts (Kununurra) and Warlayriti Artists (Balgo Hills). These two high profile art centres have commented that the Awards receive high praise from the regional arts community, and have earned a strong reputation for quality and integrity, and this was a core reason for them entering for the first time in 2014. Around 550 people attended the opening night and nearly 4,000 people visited the gallery to see the exhibition. In 2014 the Hedland Art Awards attracted three highly esteemed judges from across the country: Susan McCulloch (OAM), Emily McCulloch Childs, and Jeremy Kirwan-Ward. Each of the judges commented on the high calibre of the Awards, and the McCullochs both stated that there is no regional art award on the East Coast that would compete with the quality of the Hedland Art Awards.
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02. Mr Missions, Daisy Japulija, acrylic on canvas, 120 x 120cm, Mangkaja Arts. Photograph by Bewley Shaylor, 2014.
The Winners of the 2014 Hedland Art Awards were: • Daisy Japulija, of Mangkaja Arts Resource Agency won the Most Outstanding Work, $20,000, for her work Mr. Missions • Bugai Whyoulter, of Martumili Artists won Best Work by an Indigenous Artist, $15,000, for her work Parnngurr • Marianne Penberthy won the Best Work by a Non-Indigenous Artist, $15,000, for her work A Remote Chance
• Maggie Green won the Kathy Donnelly Judges Award, $5,000, for Untitled • Janelle McCaffrey won Best Work in a Medium other than Painting, $1,500, for her work Port Hedland Harbour Sunset • Mike Hewson won Best 3D Work, $1,500, for his piece Salt Pan Fence • Howard Holder won the Best Work by an Artist under 25, $1,000, for his work Origin of Thought
2014 HEDLAND ART AWARDS
• Larry Gundora from Warlayriti Artists won the Encouragement Award, $500, for his work Balgo Spinifex • Melissa North won the People’s Choice Award, $500, 3km for Inspiration
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HELEN ANSELL: BEYOND THE FENCE LINE
01. Daybed designed by Hans Wegner, solid oak and veneer frame, upholstered in Mulla Mulla Protearray (courtesy of Square Peg). Chairs covered in Mulla Mulla Gum Blossom in fuschia and grape. Photograph by Bewley Shaylor, 2014. 02. Bespoke gallery treatment in Mulla Mulla Protearray. Photograph by Bewley Shaylor, 2014.
Arts and creativity can play a key role in the revitalization of rural and remote communities in Western Australia, providing social, economic and cultural development that in turn helps to foster and strengthen identity. Arts activity can enhance participation and creativity in public decision making, strengthening community capacity, identity and sense of place. However, there are many obstacles faced by regional arts communities including insufficient services and facilities to overcome the tyranny of distance, which is often exacerbated by the city-centric approach of funders and gatekeepers. The failure to recognise the qualities of regional cultural product and practices is an experience that Western Australia’s Helen Ansell
is familiar with. Yet, despite the challenges inherent in living and working in the regions, Helen has continued to sustain an arts practice dedicated to celebrating the unique and distinctive identity of the Australian landscape. Helen’s work is inspired by the flora and fauna of remote Western Australia and demonstrates the deep attachment that many people living in the bush have to place and the natural environment. Helen also exemplifies the spirit of innovation that can be found across the regions where resourcefulness is essential to survival; she has taken an experimental and bold step to translate her paintings into textiles, in collaboration with fellow artist Peta Riley under the moniker
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Mulla Mulla Designs. The pair has effectively created a new platform for expressing Western Australia’s distinctiveness, one deeply embedded in an appreciation for local culture. FORM’s regional development program champions such creative practitioners who show a willingness to explore and experiment, supporting them through access to curators, creative resources and tools that assist in enhancing their arts practice while bringing their unique vision to the wider world. Our programming in regional areas, particularly in Port Hedland, links communities to experiences and activities that energise creativity. Through the Courthouse Gallery FORM provides a comprehensive exhibition and public program which is designed to offer value across the community, and create pathways to a better quality of life, catalysing positive change. Creativity is one of the strongest, most authentic ways of articulating, visualising and
teasing out a culture or identity. The creative sector plays a vital role in sustaining vibrant communities, and must be accompanied by genuine investment in the regions through a balanced combination of physical infrastructure redevelopment, community engagement and cultural programming. Due to the success of Helen Ansell and Peta Riley’s Floribundus at the Port Hedland Courthouse Gallery, the decision was made to re-exhibit the work at FORM’s Perth Gallery. Collaborating with Freedom furniture, Squarepeg, and Jenny Jones Rugs, the expanded gallery space allowed FORM to fully demonstrate the textile work of Mulla Mulla Designs. The exhibition proved successful, generating significant sales and audience engagement.
“ I’ve always had a close affinity with the outback, the desert. When I find myself surrounded by red dust and miles of flat horizon I feel a sense of home. Wildflowers are one of the hidden treasures found there, they transform the landscape into fields of colour beyond where most people can see them, beyond the fence line. Helen Ansell,
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HELEN ANSELL
ARTIST
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WEST END MARKETS
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WEST END MARKETS to the local creative economy. In 2014 the Markets attracted stallholders from up to 1,500km away, demonstrating their reputation as a quality event for artists and craftspeople to sell their products. Over the past four seasons, the markets have featured roving entertainers including stilt walkers and magicians. While these types of performers have offered a popular form of engagement for the community in previous years, the following new initiatives were introduced this year in order to diversify the experience for market-goers.
Green Design Challenge
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PREVIOUS PAGE. Helen Ansell and Peta Riley’s Mulla Mulla stall at the West End Markets. Photograph by Bewley Shaylor, 2014. 01. West End Markets. Photograph by Bewley Shaylor, 2014.
The West End Markets, founded in October 2010, have become a much loved event on Port Hedland’s social calendar. The program’s origins were in creating a platform for Pilbara artists and craftspeople to sell their work in a trading environment, specifically catering for handmade items as they become uncompetitive amongst imported and mass produced product. In addition to servicing the local creative sector, the markets aimed to offer the community a fun and inclusive familyfriendly event where they could be entertained, socialise, and contribute WEST END MARKETS
The challenge has a simple mission: to create greenery at the markets while thinking about ways old materials can be recycled and reused. Three installations were designed and made by community members in the inaugural year of the Challenge. The initiative serves as a way of encouraging greater creative participation amongst those in the community who usually only participate as members of the audience.
Cultural Tourism The Markets in March were transformed into a special morning event occurring in conjunction with the arrival of a passenger cruise ship in Port Hedland, and renamed West End Markets: Cruise Ship Edition. FORM worked closely with the Port Hedland Visitor Centre and Town of Port Hedland to showcase the town’s cultural hub to over 3,500 passengers.
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Pilbara Food Edition The Pilbara Food Edition program was formed in response to community feedback requesting to see food playing a central role alongside craft and handmade goods. FORM engaged Perth-based chef, Sophie Budd of Taste Budds Cooking Studio for a year-long engagement at the Markets. The West End Markets: Pilbara Food Edition in October celebrated the deli-style product makers, producers, and multicultural food culture in Port Hedland. The Markets showcased the cultural diversity of the Pilbara thought a mix hawker’s style food stalls offering market-goers a sample of cuisines from around the world. Programming on the Silver Star Stage included a cooking demonstration by renowned chef Simon Bryant of ABC’s The Cook and the Chef, and local musicians to entertain the crowds.
Collaboration with Care for Hedland FORM collaborated with local environmental group, Care for Hedland to host Josh Byrne, from ABC’s Gardening Australia. This special Harvest Edition of the Markets celebrated the emerging culture of gardening and growing food at home in the Pilbara. Josh Byrne presented an informal lecture, ‘Growing food in the Pilbara: plants and practices for year round produce.’ Assisted by Perth-based chef, Sophie Budd, the presentation was followed by a question and answer session so the community had an opportunity to engage with Byrne. Following the presentation, Sophie Budd and local food identity, Liliana Battle, facilitated live cooking demonstrations to highlight the versatility of produce that can be easily grown in the region.
Following the Markets, Simon Bryant cooked an Asian inspired long table dinner, held on Wedge Street for over 40 guests.
“ I like being amongst like-minded arts and crafts community, and the fact that the community accept all homemade or homegrown products, and appreciate the time stall holders have put into their respective crafts, and are willing to pay . Stallholder
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02. Jasmine Smykus face painting at the West End Markets. Photograph by Bewley Shaylor, 2014.
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M E M B E R S & A R T TA LKS
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MEMBERS & ART TALK This year saw our membership steadily grow on the back of a concerted push during and after PUBLIC, our leading program of 2014. The current membership stands at approximately 420 people at the end of the 2014 year, 120 practitioners (28.5%), 285 individual (68%), and 15 corporate members (3.5%) make up the list. 57% of the total membership are based in the Perth metro area (240) and 35% in the regions (147), 8% are interstate and international (33). FORM remains one of the most competitive and affordable options for makers’ product and public liability insurance in Australia.
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01. PUBLIC Salon exhibition opening. Photograph by Bewley Shaylor, 2014. M E M B E R S & A R T TA LKS
FORM’s 2014 membership offered the following opportunities and incentives for members to be involved in FORM’s programming: • PUBLIC Urban Art Walks were offered free for all members • Incentives to purchase exhibition works from emerging Australian practitioners • Complimentary publications to all interested members • Exclusive invitations to exhibition preview events and FORM’s new Art Talk series, which in 2014 included a panel discussion on FORM’s involvement in Big Data Week, an evening of artists’ talks with Dear William artists and AGWA curator Dr. Robert Cook, a floor talk with Helen Ansell and Peta Riley, an intimate discussion between May Byrne, Dr. Maryanne Jebb, Claire Martin, Doug Spencer, Julie Walker and Sharmila Wood to celebrate the opening of Marlbatharndu Wanggagu Once Upon a Time in the West, and an informative evening with Aboriginal art experts McCulloch and McCulloch.
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MEDIA & MARKETING STRATEGY FORM’s marketing and media strategy for 2014 focused on the broad objective to raise the profile of culture and creativity across the State. All of FORM’s projects work towards the development and advocacy of excellence in Western Australian creativity and artistic practice. The marketing and media strategies developed across each project and program focused on reflecting this excellence, not just in the design of event materials but also in messages delivered through marketing initiatives, media correspondence, and public relations.
The PUBLIC 2014 project acted as a launch pad for these objectives and met with excellent results. Since PUBLIC, there has been a focus on strengthening and maintaining the relationships with key local, national, and international media. As a result, the event is continuing to receive attention from media worldwide. Furthermore, these relationships have allowed for significant coverage and exposure of other FORM projects and initiatives, including 100 Hampton Road, Marlbatharndu Wanggagu regional exhibitions, and The West End Markets.
MEDIA LIST 92.9 6PR 96 FM ABC Indigenous ABC News ABC North West ABC Radio National ABC Rural ABC1 Amateur Magazine Architecture & Design ArchitectureAU Architecture Magazine Arrested Motion Art Guide Australia Art Lab Art Near You
Art News Portal Art on the Peninsular Art Perth Arts Hub Australian In Front Broome Advertiser Brunch News Business News Channel 7 Cockburn Gazette Colosoul Magazine Curtin FM Destination WA Enjoy Perth Event Finder Face Hunter Freo’s View
M E D I A & M A R K E TI N G S TR ATE GY
Geraldton Guardian Grafitti Art Magazine Great About Perth Guardian Express Hot Headlines In My Community Infolink.com.au Inside One40William Newsletter Institute Invurt Blog Kimberly Echo Kosovo Gallery Les Z’arts de la street Magenta Mayor Brad Pettitt’s blog Melville Times North West Telegraph
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FORM’s marketing objectives are met through a regular output of print, digital, and online branding, and event materials. The materials, which include project publications, eNewsletters, brochures, online campaigns, website development, maps, invitations, photography, and videography are also distributed to a maintained database of FORM members, subscribers, project audiences, sponsors, collaborators, and key business, industry and government contacts. Social media has been a powerful tool to achieve significant audience
Northern Guardian NOVA 93.7 Oyster and Pearl Blog Perth City Perth Voice Pilbara News Pilerats Prime7 Rotunda Media RTR FM Savage Habitat Scoop Magazine Six Thousand newsletter Southern Gazette Spirit Radio 1026 Street Art Heidelberg Street Art News
reach and build awareness of FORM’s presence within the community. Social media channels such as Facebook, Instagram, and Twitter were used extensively throughout PUBLIC, which attracted significant attention from the online community and resulted in high growth of audience/follower numbers. The audience engagement across social media has remained active since PUBLIC across other projects and programs. This reach and engagement is expected to increase further in the lead up to PUBLIC 2015.
Building sustainable relationships with a number of diverse writers and industry bloggers has also increased audience reach, and the recent partnership (the first of its kind in Western Australia) with Google Cultural Institute has broken down the geographical boundaries of our projects and exhibitions. FORM exhibitions and projects can now be explored outside of the Gallery walls, accessible to the online world.
Subiaco Post Taste Budds The Australian The Opening Hours The Sunday Times The Weekend Australian The West Australian Tiger Tales In Flight Magazine Time Out Top News Today Tourism Western Australia Triple J U Talkabout newsletter Urban Walkabout – U Blog Vandalog Virgin Australia Voyeur Magazine Visit Perth City
WA FM WAtoday We Love Perth Weekend Notes Widewalls (Switzerland) Wray Magazine X-Press Magazine
M E D I A & M A R K E TI N G S TR ATE GY
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PUBLICATIONS As an organisation, FORM is committed to the written word, believing not only that high quality publications are good for artists and the promotion of their work, but also that a comprehensive catalogue increases the longevity of exhibitions and helps to increase the depth and breadth of audience engagement. Similarly, FORM believes that film, while an artform in itself, is also crucial in the contemporary world of social media for the promotion of artistic practice. In 2014, FORM produced four separate foldout maps, designed to provide visual access to sitespecific artworks and also to help audiences navigate their locations. FORM also produced three
P U B LI CATI O N S
separate videos: PUBLIC 2014, by Chad Peacock, Peacock Visuals; PUBLIC 2014, by Brendan Hutchens; and a video documentation of the 100 Hampton Road Project by Chad Peacock, Peacock Visuals. All of these videos both showcased the breadth of artwork that PUBLIC created, and allowed those involved, especially the residents at 100 Hampton Road, to share their stories and experiences of the project. In terms of larger publications, FORM produced PUBLICation, a comprehensive overview of the PUBLIC project with commissioned essays by respected writers including Mags Webster, Helen Carroll Fairhall, Ann Van Hulle,
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and Paul McGillick. For Helen Ansell’s solo exhibition at both the Port Hedland Courthouse Gallery and FORM Gallery in Perth, a linen covered catalogue was produced, showcasing both her painting and her new textile designs. Finally, for Marlbatharndu Wanggagu - Once Upon a Time in the West, a publication of over 200 pages was produced, showcasing the photographic work of Claire Martin, the artwork of Reko Rennie and Jetsonorama, and recording dozens of oral histories of Aboriginal people’s experiences of the Pilbara’s pastoral industry. Marlbatharndu Wanggagu - Once Upon a Time in the West also included commissioned essays
P U B LI CATI O N S
by experts in both the historical and political issues of Aboriginal people’s relationship to station life, including writing by Lorraine Injie, Dr Maryanne Jebb, Jolly Read, and Julia Fournier. All of FORM’s publications are offered free of charge to FORM members, and are available to non-members for purchase.
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THANK YOU FORM wishes to thank each and every person, organisation, agency, and company mentioned in this annual report, who have each made varied and valuable contributions to FORM’s projects in 2014. In addition to the incredible, creative individuals that we have worked with, FORM reserves a special thank you for all of 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 in the communities with which they do business.
Principal Partner
Major Partners
FORM is supported by the Visual Arts and Craft Strategy, and initiative of the Australian State & Territory Governments. FORM is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Supporting Partners
Gallery & Presenting Partners
AECOM Alinta Energy Australian Government, Attorney General’s Department, Ministry for the Arts BGC CBUS City of Fremantle City of Vincent Foundation Housing Government of Western Australia, Department of Lands Herbert Smith Freehills Ibris Hotels, Perth IBN Corporation Perth Airport Pty Ltd Pilbara Development Commission Pilbara Ports Authority Town of Port Hedland Wesfarmers Arts Ibis Styles Port Hedland
Alif Arts Hub Amelia Park Wines Arts Law Centre of Australia Block Branding Care for Hedland Central Institute of Technology Chamber of Commerce & Industry, WA Charter Hall Churchill Colour Labs City of Subiaco Eat Drink Perth Feral Brewing Company Galaxy Promotions GCS Hedland First National Hedland Home Hardware & Garden Horizon Power House of Messina International Art Services Limnios Property Group Little Creatures Brewing Martumili Artists THANK YOU
The Moon Cafe North West Telegraph Pemberley Perth Centre for Photography Perth Mosque Psaros Qatar Airways Salvation Army Perth Fortress Shire of East Pilbara Squarepeg Home The Butcher Shop The Esplanade Hotel The Margaret River Chocolate Company Tourism WA Town of Victoria Park Turner Galleries Turner Galleries Art Angels