Form Annual Report 2012

FORM ANNUAL REPORT

FORM ANNUAL REPORT

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FORM Building a state of creativity 357 Murray Street Perth, Western Australia E. mail@form.net.au T. +61 8 9226 2799 F. +61 8 9226 2250 Published by FORM Edited by Elisha Buttler and Mollie Hewitt Additional editing by Kate Antonas and Andrew Nicholls Designed by Glasfurd & Walker Printed by Optima Press Š2012-13. All rights reserved. Copyright for photographic images is held by the individual photographer. Copyright for written content and this publication is held by FORM. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without prior permission from the publishers: FORM.

Our websites: www.midlandatelier.com www.courthousegallery.com.au www.thepilbaraproject.com www.visitporthedland.com www.canningstockrouteproject.com.au www.city-of-walls.com www.discoverthepilbara.com.au www.form.net.au [B]

CONTENTS

4 8 10 14

International Creative Residencies Program Annet van der Voort Indian Photography Collaboration International Creative Entrepreneurs

16 18 21 22

The Pilbara Project Larry Mitchell: A Pilbara Project Exhibition 52 Weeks On Exhibition Tours Bharat Sikka’s Looking for Nyamu The Canning Stock Route Project in India Field Notes and Photographs Second Edition

24 27 30 32 33 33

Midland Atelier Commission Program Divergence Exhibition and Public Program Once upon a time when the pigs chewed lime Midland Atelier Residencies Awkward Beauty Tour to Canberra Midland Atelier Future Development

35 36 39 42 44 50 52

City of Walls Living Walls Exhibition Beastman Creative Residency Public Artwork Outcomes Creepy in the Pilbara

55 56 58 59 60

Canning Stock Route Project Repatriation and The Canning Stock Route Digital Futures Project Mobile and Web App Newman Repatriation Trip Exhibition and Cultural Engagement in India

64 65 66 68 70

Land.Mark.Art Spinifex Hill Artists Jill Churnside

72 74 76

Public Art Consultancy

79

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Contents

Foreword FORM Overview Year at a Glance 2012 Achievements & Milestones

CONTENTS

Regional Community and Place Development Port Hedland Courthouse Gallery West End Markets West End Market Stallholder Professional Development Regional Visual Arts Development Program P.H.otography Regional Infrastructure Projects Spinifex Hill Artists Discover the Pilbara

80 82 88 89 90 91 92 94 96

Research & Creative Capitals Urban Transformations, Creative Places Creative Capital - Revised Research

98 100 101

Additional Projects An Interior Aair: A State of Becoming Deserts & Rivers Jimmy Polland Mentorship and Cultural Maintenance Ngarluma Tabi Project

102 103 104 106 108

Creative Sector Advocacy and Support Membership Marketing and Media Coverage Social Media Strategy and Reach Publications

110 110 111 112 114

Strategic Alignments

116

FORM Board Members Report

117

Notes

118

List of Artists, Creatives & Other Experts Engaged

120

Thank you

122

____ 01 Numskull and Creepy at work on their collaborative Beaufort Street mural with Beastman. Photo by Daniel Craig.

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01

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FOREWORD

FOREWORD

____ 01 Divergence: Photographs from Elsewhere, installation in Block 2, Midland Railway Workshops.

Photo by Matt Biocich.

Foreword Lynda Dorrington Executive Director FORM Change is regularly discussed in business, politics and life and one’s responsiveness to change is often considered a mark of their rise, downfall, or simply of their ability to endure and continue.

In this light, 2012 was certainly a year of change for FORM; or perhaps more accurately 2012 was a year of evolution, adaptation, and the embracing of new directions.

While design, 3D and visual artform development remained a strong focus, with the launch of many exhibitions and artistic professional development ventures regionally and in the city, 2012 saw FORM diversify into new artforms and devise new ways to access art and creativity. City of Walls is an ongoing initiative that connects artists, businesses and local councils in order to encourage new commissions of street art, and the success of the City of Walls exhibition, Living Walls, led to a series of independent commissions of street art throughout Perth as well as ongoing, stimulated discussion around art in the urban environment.

Looking at cultural access from another angle, The Canning Stock Route Project again broke new ground in 2012 with development on the Digital Futures Project.

This brings together the incredible breadth and wealth of cultural materials gathered on the

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Canning Stock Route Project since 2006 into a digital repatriation model that will enable remote Aboriginal communities to access their invaluable cultural and intellectual property digitally and in their own communities.

Another groundbreaking aspect of this repatriation model is the development of an extraordinary app for mobile devices which is based on the award winning award-winning One Road multimedia interactive, which was the signature piece of the record-breaking Yiwarra Kuju exhibition. This content-rich and highly immersive Canning Stock Route Project app will enable 250 or so Aboriginal contributors to engage with their content for the first time, whilst enabling the experience to be shared with the other Aboriginal communities and to be opened up to broader national and international audiences.

Yet 2012 was also a year of back-to-basics for FORM in many respects; of revisiting the components that have in the past shaped our fundamentals as an organisation. These components have proven equally as relevant in the present day and as we look to the future. We re-launched Creative Capital early on in the year, bringing President and CEO of Artscape, Tim Jones, to Perth to speak about creative placemaking. Artscape is a Canadian not-for-profit

FOREWORD

01

Change is the law of life. And those who look only to the past or present are certain to miss the future.

John F. Kennedy organisation that has shaped a strong reputation for its way of placemaking that posits creativity through a socio-economic lens – theirs is an adaptive model that links different creative and proactive minds to apply a specific combination of culture, creativity and art to urban projects.

Tying in with some of the concepts brought forth through Tim’s residency was the work of visiting creative entrepreneurs Tiernan Kelly and Sarah Tierney, who came to FORM through UK organisation International Creative Entrepreneurs. While Tim’s visit was designed for public access, Tiernan and Sarah’s time was internally focused, with both experts working closely with FORM staff to build a substantial body of evidence around the need and establishment of a digital media hub for Western Australia.

Meanwhile, projects such as Land.Mark.Art continue to meet and evolve the designdevelopment aims established by FORM in past programs such as Designing Futures.

And while the success of City of Walls and related street art initiatives has opened the door to a whole new area of creative exploration, even this area of programming remains tied to the essentials that have driven FORM’s goals for the past 10 years: that is, leveraging creativity, in its many multifaceted forms, to empower, enrich and energise communities.

In retrospect, 2012 shone a broad light on the importance of digital media development to the future of creative sustainability and growth. It is ironic then that in 2012 FORM also faced the reality

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that we would not secure the funding needed to establish the Foundry Digital Media Hub as the next step of Midland Atelier. This is disappointing because in many ways the potential of the Digital Hub exemplifies all that FORM has advocated for over the years – fostering cross and inter-sector innovation using creativity as a catalyst. However despite such challenges we remain confident that as an organisation we can continue to not only work with, but embrace, the many changes that characterise the Western Australian community.

For us, change is not something to be wary of but rather, the catalyst that stimulates our imagination.

FOREWORD

Network FORM’s programming and connections have international reach:

STATE (WESTERN AUSTRALIA) Geraldton Goldfields region Kimberley region Midwest region Perth Pilbara region Shark Bay South West region

NATIONAL (AUSTRALIA) Brisbane, Queensland Canberra, Australian Capital Territory Melbourne, Victoria Toowoomba, Queensland

INTERNATIONAL Argentina Canada Czech Republic England Germany India Italy Japan Kazakhstan Lebanon New Zealand Philippines Russia Scotland Singapore South Africa Spain Sri Lanka The Netherlands Turkey Ukraine United Sates of America

____ 01 Credenza designed and made

by Nick Statham. Photo by Eva Fernandez.

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FOREWORD

01

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OVERVIEW

OVERVIEW

FORM sees the transformative power of creativity as having the capacity to generate a richer community and cultural life in Western Australia. Creativity is the means by which challenges are resolved, opportunities developed and learning and growth enabled.

It also contributes fundamentally to shaping distinctive ‘cultural geography’ – the elements that make a community and the place it inhabits unique and specific.

In Western Australia the cultural geography changes from region to region but generally comprises a sometimes-paradoxical blend of characteristics such as: -

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____ 01 Audience attending Jacob Lehrer’s Beat That dance performance as part of Divergence public program at Midland Railway Workshops.

Photo by Matt Biocich.

A prized sense of remoteness yet a desire for better connectivity and development.

Resource industry dependence yet an ingrained respect for the state’s environment and landscapes.

Rich cultural ethnicity yet minimal cultural visibility.

Rich creative capital yet a lack of infrastructure and opportunity for locally-based creatives.

Our approach addresses the conditions for creativity at both a macro and micro level

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via an integrated strategy whereby we deliver activities as comprehensive, long-term program models which instigate change within communities, while developing outcomes with artistic excellence.

Examples of FORM’s programs of this scale and depth of process include the Canning Stock Route Project, The Pilbara Project, Designing Futures, the phased development of Midland Atelier and Land.Mark.Art and our research.

From an internal organisation perspective, each program is the product of applied learning: modules within a program are adapted and evolved from previous FORM programs. Adaptation is possible because each program is continuously monitored against a value chain process of development (outlined below).

In 2012 FORM continued its 01 ongoing commitment to develop broader social, cultural and community enrichment through creative excellence via our longterm projects. This annual report contextualises and details the significant developments of each of our projects and programs in 2012.

OVERVIEW

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A YEAR AT A GLANCE

A YEAR AT A GLANCE

JANUARY Jimmy Poland artistic development session with Helena Bogucki at Midland Atelier.

Continued exploration of new techniques and adaptation of traditional techniques to new art forms and exhibition development.

Land.Mark.Art design development workshops held with Spinifex Hill Artist Ann Sibosado for Wedge Street Shade Canopies, with Urban Art Projects.

Dancer and choreographer Jacob Lehrer joined Midland Atelier as a creative resident, using the Foundry building as a site of inspiration for his choreography. He showcased his work in development as part of the Divergence Public Program in March.

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Land.Mark.Art concept and design development workshops held with Spinifex Hill Artists to develop work for the Cemetery Beach playscape in Port Hedland.

FEBRUARY The second dual Pilbara Project exhibition Larry Mitchell: a Pilbara Project Exhibition launched at FORM Gallery and the Port Hedland Courthouse Gallery.

Visual Arts Development workshop held with Larry Mitchell for local artists in the Port Hedland community.

Accompany publication to the Town of Port Hedland Growth Plan – Port Hedland: Shaping a Cosmopolitan City was published.

Tiernan Kelley, Director of Film City Glasgow, joined FORM for a three month residency as a Fellow of the International Creative Entrepreneurs Programme.

FORM submitted a full application to Regional Development Australia Fund’s Round Two for the development of the Digital Media Hub in the Foundry building at Midland Atelier.

The West End Market stallholders development workshops are held with some of the State’s leading designers and creative small business owners.

MARCH In partnership with FotoFreo, FORM presented the exhibition showcase Divergence: Photographs from Elsewhere at the Midland Railway Workshops. The program

A YEAR AT A GLANCE

designers and creative small business owners.

Spinifex Hill Artists weeklong painting development workshop was held by Sara Barnes.

Research of national facilities and network development for digital media undertaken, with resident Tiernan Kelly.

APRIL included six separate shows, comprising photography, furniture, digital media and dance.

Over 800 people attended the opening event.

FORM hosted an extensive Public Program as part of Divergence. The key visiting artists Martin Parr, Ketaki Sheth, and Sohrab Hura gave presentations.

The day was attended by 2000 people.

Tim Jones, President and CEO of Artscape, Toronto was invited to Perth as part of FORM’s Creative Capitals speakers program.

He provided consultation around supporting and advocating for creative communities to a ‘sell out’ public audience at His Majesty’s Theatre as well as smaller boardroom presentations.

Indian Photographers Bharat Sikka, Sohrab Hura, Ketaki Sheth and curator Devika Daulet-Singh

engaged in a residency with FORM, which included a trip through Roebourne, Port Hedland and Marble Bar to develop work for exhibitions in India, Perth and Port Hedland.

The Canning Stock Route Project participated in the Screen West ‘Concept to Pitch’ Digital Workshop in which our team won the Mentor Award for the concept development of the One Road mobile app.

Pattern Shop resident at the Midland Atelier Alex Fossilo launched his first solo exhibition Once upon a time when pigs chewed lime... as part of the Divergence exhibition program. The exhibition ran for 33 days and featured furniture, lighting design and drawings.

The West End Market stallholders development workshops were held with some of the State’s leading

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Yiwarra Kuju exhibition at the Australian Museum in Sydney closes, with nearly 38,000 people visiting the show in total.

The Canning Stock Route Digital Futures Project participated in the X Media Lab development workshop with international experts in digital media to develop ideas and concepts for the CSR Digital Futures Project.

Sarah Tierney, digital innovator and multiplatform producer, joined FORM for a three-month residency as a Fellow of the International Creative Entrepreneurs Programme.

The West End Markets were held in the grounds of the Port Hedland Courthouse Gallery.

The Greenough Regional Prison exhibition from 2011 Let the Country Come In, toured to the Port Hedland Courthouse Gallery. This exhibition emerged out of arts development workshops for the prisoners that FORM supported since 2009.

An exhibition called Port Hedland by Future Shelter was launched at the Port Hedland Courthouse Gallery. It included a series of limited edition of prints designed by Perth design studio Future Shelter.

was filmed and exhibited at FORM Gallery.

SS Koombana: Oceans and Secrets, a collection of jewellery and objects inspired by the historical steam ship by Helena Bogucki, launched at the Port Hedland Courthouse Gallery.

Jimmy Poland artistic development session with mentor Helena Bogucki in Shark Bay, continuing the exploration of new techniques and adaptation of traditional techniques to new art forms and exhibition development.

Public artworks by Andrew Nicholls, Barry McGuire, Carol Innes, David Trubridge and Kim Scott installed as part of the Brookfield Place opening in Perth CBD. FORM assisted with the presentation of X Media Lab’s artist panel talks with CMoDA Curator Yang Lei and artists Been and Fei Jun. Private commission for a credenza, designed by emerging Pattern Shop designer Guy Eddington, was constructed and completed.

Lawrence Creative and FORM travelled to Yiwarra Kuju in Sydney to record content for a television commercial for the Mineral Council of Australia and BHP Billiton.

Spinifex Hill Artists weeklong painting development

The second regional Artist Camp was staged at DeGrey Station in the West Pilbara with Western Australian artists Sara Barnes, Christine Hingston and Naomi Stanitzki running workshops over three days.

workshop was held by Sara Barnes.

JUNE

MAY

The Canning Stock Route project team and ArtsLaw met in Newman for a fiveday repatriation workshop: Safeguarding Indigenous Cultural and Intellectual Property to discuss the legal frameworks, structure and delivery of the repatriation and the digital future of the project.

A series of photographs from the first Pilbara Project exhibition 52 Weeks On toured to the Sofitel on Collins in Melbourne as part of Global Art Projects’ exhibition program.

Australian design icons Adam Goodrum and Alexander Lotersztain visited Midland Atelier for a series of mentorship workshops. The designers also held an industry event for seventy interior designers and architects.

Spinifex Hill Artists weeklong painting development workshop was held by Sara Barnes.

Art strategy for Centauri’s The Landing development in Port Hedland was submitted.

Living Walls, an exhibition of works by local and national street artists and illustrators launched at FORM Gallery to a massive crowd, the gallery featured a wall mural by resident artist Beastman.

Two major public murals were completed in laneways in the City of Vincent and the City of Subiaco by artists Creepy (Kyle Hughes-Odgers), Beastman and Numskull in association with the Living Walls exhibition.

The making of the murals

Young and emerging visual artist Hayley Walsh exhibited her work at the Port Hedland Courthouse Gallery in the solo exhibition called Nest Making.

Thailand born, Carnarvon based artist Warayute Bannatee exhibited his work in the solo exhibition In Bloom at the Port Hedland Courthouse Gallery.

The West End Markets were held in the grounds of the Port Hedland Courthouse Gallery.

Lawrence Creative travelled to Newman to document the Canning Stock Route Project repatriation meetings in order to develop a television commercial for the Minerals Council of Australia and BHP Billiton.

The group also travelled to Port Hedland for the project.

A full art strategy is developed and submitted to Mirvac for the development of the Old Treasury Building site in Perth.

The City of Swan Heritage Precinct sculptural seat, designed and constructed

by Midland Atelier resident designer Alex Fossilo, was completed.

The West End Market Stallholders development workshops are held with some of the State’s leading designers and creative small business owners.

Midland Atelier designers delivered a series of loose furniture fittings, commissioned by Woods Bagot for the Minter Ellison boardroom.

JULY Perth artist Creepy, completed a commission to transform two walls in Port Hedland’s West End with large-scale murals.

The making of these walls was documented by Chad Peacock and exhibited alongside Creepy’s work in 2013 at the Port Hedland Courthouse Gallery.

Creepy also conducted a drawing and illustration class with art students at Hedland Senior High School.

720 ABC Perth’s live broadcast was held in the FORM Gallery with the Living Walls exhibition as its backdrop.

A Public Art Visioning document is presented for the Perth City Link development as part of the Leighton Properties bid.

An industry event was held at FORM Gallery to promote the artworks on acoustic panels made for the Living Walls exhibition.

Land.Mark.Art concept and design development workshops were held with Spinifex Hill Artists and Roebourne artists Jill Churnside and Wendy Warrie in South Hedland with FORM and Urban Art Projects.

Fabrication of the Roebourne Art Group artists’ sculptures for the Baynton West development in Karratha completed at Urban Art Projects Studio in Brisbane.

A series of large-scale prints on paper, featuring the work of Cheeky, Steven Christie, Shannon Crees, Jae Criddle, Andrew Nicholls and Chloe SpiersAtherden were pasted onto walls in Perth Cultural Centre and Mt Lawley as part of the broader Living Walls program.

Spinifex Hill Artists weeklong painting development workshop was held by Sara Barnes.

Presentation to 6th Annual Mining the Pilbara forum.

Cultural vitality in the Pilbara event hosted at Courthouse Gallery.

AUGUST Dutch photographer Annet van der Voort travelled to Port Hedland as part of her residency with FORM, to capture portraits and stories from residents of the area for the 2013 exhibition Pilbara Stories.

The reputable Hedland Art Awards launched at the Port Hedland Courthouse Gallery, exhibiting 96 works from throughout the regions and boasting a rich prize pool of $65,000. The first prize of $20,000 was awarded to Sonia Kurarra’s Martuwarra (above).

A large, integrated reception

A YEAR AT A GLANCE

desk, designed by the team at Midland Atelier for St Bartholomew’s House, was competed and installed.

furniture as part of the fit out for a major resource company in Perth. The commission will be delivered in early 2013.

The West End Markets are held in the grounds of the Port Hedland Courthouse Gallery.

Designers Philipp Rinkens and Mark Elbin joined the Midland Atelier team, as a resident at the Pattern Shop.

Resident designer Alex Fossilo was commissioned to design and deliver a series of work stations and office table for architecture firm UDLA.

Spinifex Hill Artists weeklong painting development workshop was held by Sara Barnes.

The online social community Discover the Pilbara was launched at the Hedland Art Awards opening in Port Hedland.

Mentors Sara Barnes and Sean Byford conducted a painting and skills development workshop and field trip to Marble Bar, Six Mile and Pretty Pool with the Spinifex Hill Artists.

SEPTEMBER Awkward Beauty toured to that Australian National University School of Art Gallery to coincide with Canberra project Fashionably Early. One set of works from the exhibition was acquired by the National Gallery of Australia.

P.H.otography program workshops were held at the Port Hedland Courthouse Gallery and then, the following weekend, at

the Pannawonica Rodeo.

The workshops were conducted by renowned photographers John Elliott, Bill Shaylor, David Dare Parker and videographer Michael Fletcher.

An Interior Affair: A State of Becoming, an exhibition delivered by the Interior Design/ Interior Architecture Educators Association (IDEA), Curtin University and FORM launched at FORM Gallery as an accompaniment to the IDEA Symposium.

Pattern Shop designermaker Jon Goulder held

a Master Class at Midland Atelier as part of the Interior Design/ Interior Architecture Educators Association Symposium.

Land.Mark.Art concept and design development workshop held with Jill and Maggie Churnside, at Urban Art Projects studio in Brisbane leading towards and exhibition in late 2013.

Midland Atelier designers were engaged by interior design firm MKDC to deliver a large-scale commission involving bespoke fitted and loose

Cultural Heritage: Putting Ideas First’, a discussion on intangible cultures, livelihood and policy at the Craft Revival Trust and India International Centre in New Delhi.

Penny Forlano took up a short-term residency at Midland Atelier.

Spinifex Hill Artists weeklong painting development workshop was held by Sara Barnes.

Two further presentations on FORM projects, with a particular focus on the Canning Stock Route Project were given at Amity University and Ambedkar University in New Delhi, India.

A Public Art Visioning Document was presented for the FESA Redevelopment site as part of Woods Bagot’s bid.

A return to Country trip was held with Ngarluma elders at Pyramid and Crydon Station for the Ngarluma Tabi Project. Filmmakers, researchers and Ngarluma anthropologists accompanied the elders in order to gather stories and record the journey.

FORM attended the launch of OzFest, the Australian Cultural Festival in New Delhi, India.

The Girls Guide to Port Hedland, a personal guide to living like a lady amongst the red dirt and Spinifex of the Pilbara, was published in partnership with BHP Billiton and the Hedland Well Women’s Centre.

Atelier commission for a seating and shelving unit, designed by Nick Statham and Guy Eddington, was completed and installed for a private residence.

Presentation to Woods Bagot Glasshouse on creative cities and value of cultural engagement.

OCTOBER Canning Stock Route Project Manager and co-curator Monique La Fontaine presented ‘Curating Intangible

FORM signed a three-year management contract with the Town of Port Hedland to refurbish and manage the Port Hedland Visitor Centre.

The West End Markets were held in the grounds of the Port Hedland Courthouse Gallery.

Midland Atelier completed a private commission for a dining suite, designed by Jon Goulder and made in collaboration with Warren Hayes, for a residence in Margaret River.

Curtin University Academic and designer

Presentation to Roberts Day on creative cities and international trends in culturally vibrant places.

NOVEMBER FORM’s exhibition of work from the Pilbara Project and the Canning Stock Route Project was exhibited at the Lalit Kala Akedemi as part of the official program of the Australian Cultural Festival (OzFest).

Indian photographer Bharat Sikka exhibited photographs from his residency in the Pilbara with FORM in an exhibition titled Looking for Nyamu, at the Lalit Kala Akedemi in New Delhi, India.

Deserts and Rivers, a group exhibition of work from Aboriginal artists from the Pilbara and Kimberley regions launched at FORM Gallery. A major work by Nora Wompi was acquired by the Artbank collection.

A series of photographs from the first Pilbara Project exhibition 52 Weeks On was exhibited in BHP Billiton’s new foyer in Brookfield Place in Perth’s CBD. As part of this exhibition, photographer and artist Tony Hewitt gave a lunch time presentation.

The Canning Stock Route Project was invited to stage an exhibition of photographs and films from the project at the Social Work and Research Centre, Barefoot College, in Tilonia, Rajasthan, India.

A full art strategy is developed and delivered for the development of St John of God’s Midland Public and Private Hospital.

Lotterywest funding was secured to purchase a bus for the Spinifex Hill Artists group in Port Hedland.

Ann Sibosado’s shade canopies, designed through the Land.Mart.Art program, were installed in the Wedge Street redevelopment in the Port Hedland West End.

Indigenous Affairs at BHP Billiton, Chris Cottier.

The Midland Atelier design team delivered a commission from Cox Architects for 22 occasional chairs, custom designed

by Jon Goulder and Nick Statham.

Art strategy is developed and delivered in partnership with Urban Art Projects for the redevelopment of 140William retail area.

John Elliott travelled to the Port Hedland to develop work for the 2013 exhibition Pilbara Stories.

Cemetery Beach Park artworks by Spinifex Hill Artists were installed and unveiled by Hon Brendon Grylls, Minister for Regional Development and Lands, Mayor of Port Hedland, Kelly Howlett and Senior Manager for Community and

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DECEMBER FORM completed the redevelopment of Wedge Street, Port Hedland’s historic main street in the West End. This redevelopment included the addition of quality paving, street furnishings, mature trees, garden beds and feature shade canopies.

Artist and photographer Eva Fernandez joined the Pattern Shop as an artist-in-residence with the purposing of developing a series of site-specific works to be included in the 2013 Midland Atelier exhibition program.

Spinifex Hill Artists weeklong painting development workshop was held by Sara Barnes.

A YEAR AT A GLANCE

The world is but a canvas to our imaginations.

Henry David Thoreau

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2012 Key Milestones & Achievements

KEY MILESTONES & ACHIEVEMENTS

The past 12 months have generated a turnover of $8.9million and the following key achievements:

Nearly $2 million of funding was secured to build the Spinifex Hill Artists a new studio in 2013.

FORM brought Tim Jones to Perth as part of the Creative Capital program to a sold out audience at His Majesty’s Theatre.

Photographic outcomes from the Pilbara Project travelled to: Melbourne, City Square in Perth, and India.

Divergence: Photographs from Elsewhere engaged 78 local, national and international creatives to showcase their work at the Midland Railway Workshops as part of the FotoFreo program, attracting record audiences to the site.

Refurbishment of Port Hedland West End’s historical Wedge Street was completed.

FORM was appointed as the new management for the Port Hedland Visitor Centre, commencing the refurbishment of the building.

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KEY MILESTONES & ACHIEVEMENTS

FORM was appointed as the art consultants on major metropolitan developments including the Old Treasury Building, Waterbank and St John of God Hospital in Midland.

Over 55 workshops/presentations were held across Australia and India.

FORM curated and launched a total of 23 exhibitions across 2012.

More than 3,000 people engaged with FORM’s 8 International Creative Residents throughout 2012.

The four West End Markets held in 2012 experienced record stallholder numbers at each market; and record attendance numbers, with between 3,500 and 5,000 at each market.

Yiwarra Kuju: the Canning Stock Route showed at the Australian Museum in Sydney, attracting nearly 38,000 visitors.

The second edition of the sell-out and substantial book Pilbara Project: Field notes and photographs was published.

Over 78,000 people attended FORM’s exhibitions across Perth, Port Hedland, Melbourne, Sydney Canberra and India.

The success of urban art activation project City of Walls continued with record crowds and follow-on commissions via the Living Walls exhibition in June.

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Two international creative entrepreneurs, Sarah Tierney and Tiernan Kelly were hosted for three-month residencies at FORM to participate and engage in the organisation’s creative digital planning and programming.

INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

01

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INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

2012 InternationaL Creative Residents The Netherlands Annet van der Voort

India Sohrab Hura Ketaki Sheth Bharat Sikka Devika Daulet-Singh

Scotland Sarah Tierney Tiernan Kelly

Canada Tim Jones More than 3,000 people engaged with FORM’s International Creative Residents in 2012

Overview FORM’s International Creative Residency Program in 2012 spanned a diversity of cultures, capacities and outcomes, enabling the arrival of curators, photographers, creative directors and producers and digital experts. Creative residencies offer immense benefit to a community, particularly those that may be remote or in need of regeneration.

The physical displacement or exchange of people to new places almost by default expands ways of thinking, seeing and doing.

Simultaneously the exchange of human capital through residencies enables the exchange of skills and competencies and grows networks, strong and connected social/ cultural environments and new opportunities.

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INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

____ 01 Tiernan Kelly, International Creative Entrepreneur. Photo courtesy of Tiernan Kelly.

INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

01

Annet van der Voort

____ 01 Robert Brooking, BHP Billiton’s Nelson Point operations, Port Hedland. Photo by Annet van der Voort. ____ 02 Khalisah Bickford in South Hedland. Photo by Annet van der Voort. ____ 03 Amy Jane Ryan in South Hedland.

Photo by Annet van der Voort.

In August German-based Dutch portrait photographer Annet van der Voort travelled to Western Australia as a guest of FORM. Van der Voort’s work is held in many major European collections and she has crafted a strong reputation for her ability to synthesise the striking immediate presence of her photography subjects with a sense of the more intimate aspects that make up their culture, identity and circumstance.

Accompanied by FORM’s curatorial team, van der Voort spent time in Port Hedland, photographing and interviewing more than sixty local residents in order to capture their concepts of ‘work’ and ‘home’ – concepts that are deceptively simple in a community shaped by

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ebb and flow industries, population transience and a constant shift of inward-outward migration.

Van der Voort’s resulting body of work deftly combines portraits, interviews and autobiographies that bring together the town’s multicultural characteristics and highlights the many divergent histories and pathways of its people.

Van der Voort’s Port Hedland work was launched in twin exhibitions in Perth and Port Hedland in February 2013. The exhibition, Pilbara Stories, also featured work by photographers and fellow creative residents Martin Parr, Ketaki Sheth and Bharat Sikka. The exhibition and public programming celebrates

INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

02

the cultural assets of the Pilbara by exploring the intricacies of the region’s population.

The regional work of FORM’s visiting photographers is part of The Pilbara Project which, since 2010, has provided the context for an array of photographers, writers, curators, artists and researchers to amass an archive of images, stories, and artwork created about, set in and influenced by, the Pilbara. For more detail on The Pilbara Project see pages 24-34.

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INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

01

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INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

02

Indian Photography Collaboration Sohrab Hura, Ketaki Sheth, Bharat Sikka, Devika Daulet-Singh

The Australian Federal Government designated 2012 as the Year of Australia in India, with the intent of strengthening Australia’s ties with India via a program fostering friendship, understanding and exchange between the two countries.

As a response, FORM initiated an Indian cultural exchange and collaboration program and in March hosted three leading Indian photographers: Sohrab Hura, Ketaki Sheth, and Bharat Sikka; and respected curator Devika DauletSingh as part of the organisation’s International Creative Residencies Program.

____ 01 Ketaki Sheth presents in the Power House as part of the Divergence public program.

Photo by Matt Biocich. ____ 02 Ketaki Sheth photographing a subject in Port Hedland. Photo

by Samantha Bell.

The project initially encompassed artistic professional development through workshops, presentations, talks and artists’ journeys in the Pilbara. The second stage involved presenting and promoting the content developed during the first component through print and online media platforms and exhibitions launched in both Australia and India.

A key outcome of the Indian program was Divergence: [ 21 ]

Photographs from Elsewhere, a collaboration between FORM and FotoFreo that launched in March at the Midland Railway Workshops and comprised hundreds of images by artists based in fifteen countries.

Hura, Sheth, and Sikka presented their photographs in Divergence, and Hura developed a site-specific multimedia installation.

FORM also partnered with DauletSingh’s Photoink, a photo agency and publication design studio to assist with managing the residency and curating the final selection of work by the Indian photographers.

Sikka’s photographs from the residency came together in a show called Looking from Nyamu and were later exhibited in New Delhi as part of The Pilbara Project for the Australian Cultural Festival (OzFest).

The full selection of Sikka’s and Sheth’s portraits are featured in the exhibition Pilbara Stories, which opened in February 2013 in Perth and Port Hedland.

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INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

International Creative Entrepreneurs Tiernan Kelly and Sarah Tierney

In 2012, as part of an initiative by UK organisation International Creative Entrepreneurs, FORM welcomed two leading creative industry professionals, Tiernan Kelly and Sarah Tierney, from Scotland to Australia with the aim of providing development opportunities for the residents while growing the organisation’s expertise, gaining assistance with specific projects, and enabling insight into key creative sector development projects internationally.

The residencies of Tiernan Kelly and Sarah Tierney contributed to a significant body of work around the need and establishment of a digital media hub for Western Australia.

Recommendations were developed that covered: - Financial and budget projections, particularly around tenant structures and occupancy rates.

- Business development provision and services to be delivered with a hub, critical to underpin the sustainability and scalability of companies, most notably a digital/tech business accelerator programme, with a focus on cross-sector innovation and international markets.

- Potential activation events and programs intended to grow the digital/tech network, enhance core business skills, stimulate creative innovation, and catalyse

international ambitions, with the digital hub as the central agitator of these developments.

What became evident through the work of Tiernan and Sarah is that such a facility is needed if we are to catalyse creative, digital and tech innovation, unite and grow the sector and equip Perth and Western Australia with the skills and ambitions to grow sustainable and scalable companies. Perhaps its greatest potential would be as a centre for cross-sector innovation (with the arts, health, education and resource sectors as critical targets) with the capacity to exploit its geographical position as a gateway to Asia.

The residents’ contribution to this body of work was invaluable but unfortunately will not be realised at this point due to lack of financial support but we hope that in the future the need and opportunity will become evident to those with the means to make it a reality.

Tiernan Kelly, Director of Film City Glasgow was resident from January to April, contributing strong expertise, research, reports, and planning toward the potential development of the Foundry Digital Media Hub. Sarah Tierney, digital innovator and multi-platform producer, then undertook a residency from April to June. Sarah contributed predominantly to the planning and pitching of the development of a digital application for the Canning Stock Route Project, enabling repatriation, greater access and longevity for important Western Australian Aboriginal content. Sarah also contributed to the Digital Media hub planning and worked closely with FORM to 02 develop the organisation’s digital communication strategy.

‘I am in awe of their vision, and the breadth of disciplines that they engage with. The Canning Stock Route Project in particular is a manifestation of the FORM ethos – bold, ambitious, and uniquely connecting creativity, community, history, and technology. Leaping into the unknown as part of an international creative leadership residency, my time with them was transformative. They are the exemplar of what can be achieved by a talented, intelligent, dedicated team.’

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Tiernan Kelly, International Creative Resident in 2012

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INTERNATIONAL CREATIVE RESIDENCIES PROGRAM

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‘My time at FORM as a Fellow of the International Creative Entrepreneurs Programme was a highlight of my career to date.

The breadth and ambition of work undertaken by the team is quite extraordinary, and the quality of artistic work created is most often world-class. I am particularly proud to have contributed, in a small way, to the realisation of a digital future for the award-winning Canning Stock Route Project.’

Sarah Tierney, International Creative Resident in 2012

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____ 01 Sarah Tierney, International Creative Entrepreneur. Photo courtesy of Sarah Tierney.

The Pilbara Project

THE PILBARA PROJECT

The Pilbara Project is the umbrella project for a number of artistic and strategic cultural initiatives that bring the communities, cultures and industries of the Pilbara region of Western Australia into focus, exploring what makes this region unique, valuable, vulnerable and beautiful.

Outcomes to date include two editions of the substantial book The Pilbara Project: Field Notes & Photographs; an international exhibition and artist exchange program; research and growth plans written in alliance with local councils and redevelopment bodies; localised place activation projects; and the creation of active social and digital media platforms (thepilbaraproject.com and discoverthepilbara.com).

The Pilbara Project is also a celebration of the award-winning partnership between BHP Billiton and FORM: a partnership that has delivered creative engagement and development programs in the Pilbara for over nine years.

The impact of the partnership on Pilbara communities has been profound, with thousands of people engaging with the programs offered, from BHP Billiton employees and local community members, to emerging and established artists, Aboriginal art centres and budding entrepreneurs.

creative contributors Larry Mitchell Painter William L. Fox Curator and writer Dr. Les Walkling Photographer and academic Tony Hewitt Photographer Christian Fletcher Photographer Michael Fletcher Filmmaker Martin Parr Magnum Photographer John Elliott Photographer Peter Eastway Photographer Nicole Ma Film producer Curtis Taylor Filmmaker Kenneth “KJ” Martin Filmmaker Morika Biljabu Photographer and filmmaker Clint Dixon Filmmaker Tim Acker Photographer and Aboriginal enterprise expert Bharat Sikka Photographer Sohrab Hura Photographer Annett van der Voort Photographer and artist Mags Webster Writer and poet ROA Street artist Creepy Street artist Beastman Street artist

Artistic disciplines

____ 01 Parnngurr. Photo

by Les Walkling.

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Painting Visual art Urban/street art Photography Film Writing Public art

THE PILBARA PROJECT

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THE PILBARA PROJECT

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THE PILBARA PROJECT

Larry Mitchell: A Pilbara Project Exhibition

____ 01 Larry Mitchell, Port Hedland Suite (1 of 4), oils on canvas. Photo by Victor France. ____ 02 Larry Mitchell, Water Hole, oils on canvas. Photo by Victor France. ____ 03 Gallery visitors viewing Larry Mitchell’s Pilbara Suits, at FORM Gallery. Photo by Matt Biocich.

Opening on subsequent nights in Perth and Port Hedland in February, Larry Mitchell: A Pilbara Project Exhibition followed on from the 2011 launch of The Pilbara Project’s inaugural exhibition, 52 Weeks On. Over the seasons of 2011, Larry Mitchell, one of the State’s finest figurative painters, completed a comprehensive body of work that captures the remarkable diversity of the Pilbara. From climatebleached coastal islands to rangy hills trailing through inland and desert country, his is a collection that takes into account both the epic vistas and intimate details of this memorable region.

Larry travelled with fellow Pilbara Project contributors, photographers Peter Eastway, Dr Les Walkling, Tony Hewitt, Christian Fletcher and curator William L. Fox, writer and poet Mags Webster and videographer Michael Fletcher during 2011 to develop his work, the photographic and film work created during these trips went on to form the 52 Weeks On exhibition.

A catalogue was produced to accompany the exhibition, featuring writing by William L. Fox, Elisha Buttler and Mags Webster.

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THE PILBARA PROJECT

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52 Weeks On The Pilbara Project exhibition extension tours

____ 01 Karratha, by Christian Fletcher. ____ 02 Lalit Kalla Academy visitors viewing Bharat Sikka’s Looking for Nyamu. Photo by Sharmila Wood.

FORM partnered with Global Art Projects to tour 52 Weeks On: A Pilbara Project Exhibition to the Sofitel Melbourne on Collins over May and June. The Sofitel has a strong onsite art program that runs in synergy with Melbourne’s other CBD cultural programs.

ruminate the deep complexity of the land itself.

The original 2011 exhibition featured photography by respected Australian landscape photographers Peter Eastway, Christian Fletcher, Tony Hewitt and Dr. Les Walkling and film

by Michael Fletcher (the film component did not tour to Melbourne). Curated by William L. Fox, Director of Art & Environment at the Nevada Museum of Art in the United States, this exhibition was designed to document and celebrate the Pilbara from a pure landscape perspective, looking at the patterns, synergies and dichotomies between the industrial and natural landscapes. Other Pilbara Project initiatives would later examine the community and humanity of the Pilbara (such as Pilbara Stories, opening early 2013), leaving the 52 Weeks On photographers the artistic space to

After touring to Melbourne, a selection of works from 52 Weeks On were exhibited in the foyer of BHP Billiton’s new offices in Brookfield Place, St Georges Terrace Perth. This capsule exhibition represented a major outcome of FORM and BHP Billiton’s ongoing partnership in regional Western Australia. As part of the exhibition Tony Hewitt presented to a select crowd of BHP Billiton staff about the experience and value of his time working in the Pilbara.

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The exhibition tour provided an important opportunity for FORM to expand its audience base and highlight its multi-regional work in larger and more diverse platforms.

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THE PILBARA PROJECT

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The Pilbara Project in India as part of the Australian Cultural Festival In November a specially-curated photographic exhibition that combined work by Pilbara Project and Canning Stock Route Project artists opened as part of the official program of the Australian Cultural Festival (OzFest), which was supported by the Australian Government through the Australia International Cultural Council, an initiative of the Department of Foreign Affairs and Trade.

The show was also part of the Delhi International Arts Festival program. This is India’s premier cultural festival and it regularly attracts over a million people.

The exhibition was opened at the Lalit Kala Akademi, India’s premier fine arts institution, on 1 November

by Australian Parliamentary Secretary for Foreign Affairs, The Hon Richard Marles MP, and the Premier of New South Wales, The Hon Barry O’Farrell MP.

The India showing was the result of three years of development work around The Pilbara Project.

This tailored exhibition included photographic work by previous Pilbara Project contributors, as well as work by Western Australian photographer Tim Acker, a cofounder of, and key contributor to, The Canning Stock Route Project.

Official presentations The Pilbara Project & The Canning Stock Route in India, presentation, New Dehli The Pilbara Project & Canning Stock Route, presentation, Amity University, New Dehli Curating Intangible Cultural Heritage Putting Ideas First: A discussion series on intangible cultures, livelihood & policy.

Craft Revival Trust & India International Centre, New Dehli The Canning Stock Route Project, Ambedkar University, New Dehli

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‘We also feature great works of collaboration between our two peoples. For admirers of physical beauty, The Pilbara Project will display photographs of Australia’s rugged, starkly beautiful northwest region by Australian and Indian photographers.’

Prime Minister Julia Gillard, in her address at the launch of OzFest in New Delhi, India.

THE PILBARA PROJECT

Bharat Sikka’s Pilbara

____ 01 Students discuss the Canning Stock Route Project exhibition at the Barefoot College in Tilonia, India. Photo by Monique La Fontaine

The Lalit Kala Akademi show also debuted Looking for Nyamu, a body of work by Indian photographer and FORM international resident Bharat Sikka, whose work provided a different perspective on the region, focusing on the people of Port Hedland and its surrounds.

Sikka travelled with photographers Sohrab Hura, Ketaki Sheth, and Director of Photography at Photoink, curator Devika DauletSingh, to the Pilbara in March 2012.

Bharat Sikka photographs have appeared in magazines such as Wallpaper, Vanity Fair, Vogue India, and The New Yorker.

His photographic work for this project, like stanzas of a poem, are fragments that form a visual narrative, lending a sense of heritage and a deeper understanding of the people who live in the Pilbara. Each photograph represents a piece of the story constantly unfolding in the Pilbara, as well as an insight into the region’s past.

Evolving out of a road trip through the west Pilbara towns of Roebourne, Port Hedland and Marble Bar, Sikka sought to capture the Pilbara with artistic inquiry, wanderlust and curiosity. Through endlessly deferred explanations, his ambiguous images force questions, they invite stories; the viewer must bring their own meaning to the Pilbara.

‘The Pilbara is a place we cannot fully comprehend or know completely. It’s open, incomplete and endless.’

Bhara Sikka, FORM international creative resident

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The Canning Stock Route Project in India

Field Notes & Photographs second edition

FORM was also invited to stage an exhibition of Canning Stock Route Project photography and films alongside an exhibition of photographs by Indian photographer Sohrab Hura, who also undertook a residency with FORM in the Pilbara in March and April 2012. These exhibitions together offered a diverse view of Western Australia’s Aboriginal cultures and highlighted the unique relationships between the photographers and their subjects reflected in their images.

A new edition of The Pilbara Project: Field Notes and Photographs was released in November 2012 after all copies of the first edition (published at the beginning of 2011) were distributed (sold or gifted) in less than twelve months. The new edition is edited and revised and includes some new images and stories as well as a foreword from Hon. Colin Barnett, Premier of Western Australia.

The new edition was produced to accompany Pilbara Project events in India.

The Pilbara Project journey New Delhi, India Barefoot College, Rajasthan, India Melbourne, Victoria, Australia Perth, Western Australia Port Hedland, Western Australia

More detail on The Canning Stock Route Project’s Indian showing is contained in The Canning Stock Route Project, page 70. ____ 02 Pilbara Landscape. Photo by Bharat Sikka.

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MIDLAND ATELIER

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MIDLAND ATELIER

Liv Lewitschnik, Monocle Magazine

Midland Atelier is Western Australia’s first creativity and design hub, occupying a cluster of the original heritage-listed buildings within the greater Midland Railway Workshops site.

2012 marked the fifth year of the Midland Atelier, developed through FORM’s long term partnership with the Metropolitan Redevelopment Authority (MRA – formerly the Midland Redevelopment Authority): a partnership designed to deliver creative programming at the Midland Railway Workshops.

The year saw the highest level of public engagement at Midland Atelier to date, with a record number of people visiting the site via high-profile cultural programming such as the Divergence open exhibition program, delivered in partnership with FotoFreo.

2012 also saw increased productivity and commercial success for the Pattern Shop studio, thanks to a number of prestigious public and private commissions.

A significant focus for FORM in 2012 was developing the Foundry Digital Media Hub as the next stage of Midland Atelier’s transition into a broader multi-disciplinary facility. However, raising funding toward this outcome has proved challenging, and while there has been strong federal interest, without the matched cash funding support of the Western Australian government this much needed facility cannot proceed. FORM has been formally notified by the Minister for Culture and the Arts that while the State has contributed assets is not in a position to contribute funding at this stage.

MIDLAND ATELIER

‘Midland Atelier is a design powerhouse that attracts people to train from all over the world and offers opportunities to local creative talent, in Western Australia, where mining is the major industry, it’s a breath of fresh air.’

Countries connected to Midland Atelier in 2012* Australia United Kingdom India Italy Germany USA Russia Sri Lanka Spain Lebanon Argentina Ukraine South Africa

Turkey Canada Japan Kazakhstan Czech Republic New Zealand

*Via residencies, visiting and exhibiting artists, other experts and contributors

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____ 01 Shelving unit designed by Nick Statham and Guy Eddington and made by Nick Statham. Photo by Bill Shaylor 2012.

MIDLAND ATELIER

Midland Atelier Commission Program

The Midland Atelier Commission Program is run from The Pattern Shop, FORM’s fine wood, furniture and object design studio. The Pattern Shop residents (there were 11 continuing residents in 2012) experienced a busy year in 2012, designing and constructing a range of commissions and securing new projects for 2013. private commission - Dunn Credenza Emerging designer Guy Eddington was commissioned to develop a custom credenza for a private client in Perth. Guy worked collaboratively with fellow Pattern Shop designer Warren Hayes to construct the piece which was completed in April.

City of Swan - Midland Heritage Precinct project In 2011 the City of Swan commissioned Midland Atelier to design and produce a sculptural bench seat and wall installation to bring visual dynamism to, and encourage greater interaction within an important public space in Midland’s town centre. The site for the commission was within the newly-redeveloped Midland Heritage Precinct courtyard, located between Helena Street and the Old Great Northern Highway.

The commission was completed in June 2012. Alex Fossilo, an emerging Western Australian designer who has been a resident at the Atelier for three years, designed and constructed the piece.

____ 01 Brianna Russell, designer-maker at work in the Pattern Shop. Photo

by John Elliott.

Minter Ellison – boardroom furniture Architecture firm Woods Bagot approached the Atelier to provide [ 36 ]

boardroom furniture (table, chairs and a credenza) as part of the loose furniture for a new fit-out for law firm Minter Ellison. The project was completed in June.

St. Bartholomew’s House – reception furniture Lynne Evans, former CEO of St. Bartholomew’s House, commissioned the Atelier to design a large, integrated reception desk and waiting area seating for the new St Bartholomew’s building in Lime Street, East Perth. The project was a design collaboration between Jon Goulder and fellow Atelier resident Dan Hood, using Western Australian blackbutt timber and moulded corian. The finely designed and constructed reception desk and seating arrangement was completed and installed in August and provides a welcoming and inclusive entrance for St. Bartholomew’s elderly and homeless residents and visitors.

MKDC - Mining Company Executive Level COMMISSION In September, interior design firm MKDC engaged Midland Atelier in a large scale commission which will involve the design and construction of a range of bespoke fitted and loose furniture as part of a fit out for a major resource company in Perth. The commission will engage all of the Pattern Shop designers at various stages and will be delivered in early 2013.

UDLA Designer Alex Fossilo was approached to design work stations for landscape architecture firm UDLA. After the successfully completed workstations, UDLA

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then commissioned Fossilo to design a table for their office. The project was completed in August.

Cox Architects – private commission Cox Architects commissioned the Atelier to design 22 occasional chairs. The chairs were custom designed by Jon Goulder and Nick Statham and made by the designers and Warren Hayes in Western Australian Jarrah and local leathers. The commission was completed in November. private RESIDENCE commission This complex brief requested a shelving unit for a private home to also act as a screen, with one side to be used for a home office and the other to function as a hall stand with bench seating and space to store umbrellas, coats and hats. Nick Statham and Guy Eddington designed the piece, which was constructed by Nick Statham in solid white ash with very fine detailing. The project was completed in October.

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Snowball – private commission Also in October, Midland Atelier completed a private commission for a family home in Margaret River. Eight dining chairs and a three metre solid walnut dining table were designed by Jon Goulder and made in collaboration with Warren Hayes.

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____ 01 Exhibition development work for Once upon a time when pigs chewed lime... Photo by Alex Fossilo. ____ 02 Dining table and chairs private commission, designed by Jon Goulder. Photo by Bill Shaylor.

MIDLAND ATELIER

Divergence exhibition and public program

____ 03 Installation of work by Bharat Sikka in Elsewhere, as part of Divergence. Photo by Matt Biocich.

The Divergence: Photographs from Elsewhere exhibition program showed at the Midland Railway Workshops from 15 March to 15 April, 2012. Presented by FORM in partnership with FotoFreo, the exhibition and public program comprised a monumental showcase of contemporary photography by more than 70 artists based in 15 countries.

The project transformed some of the Midland Railway Workshops’ most dramatic spaces into a panorama of images, demonstrating photography’s unique ability to communicate across cultures, connect diverse people, create debate and stir emotion.

Divergence proved drew extensive public and arts industry attention to Midland Atelier and the site’s unique potential for artistic exploration and exchange. The project also facilitated inter-sector partnerships and collaborations, such as FORM’s partnership with FotoFreo and the contributing artists.

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Divergence attained new audiences and considerable promotional reach, attracting extensive media coverage: 800 people attended the opening night 2,000 people attended the public program (Saturday 17 March) 5,000 people viewed the exhibitions in total 2,000 exhibition catalogues were gifted or sold over the course of the exhibitions 75% of the audience left feedback stating that it was their first visit to the Midland Railway Workshops

The Divergence program comprised: - Elsewhere: Selected works by iconic international photographers Sam Harris (UK/ Australia), Sohrab Hura (India), Martin Parr (UK), Ketaki Sheth (India) and Bharat Sikka (India) displayed in Block 2 and the Powerhouse.

- Divergence: The Photographers’ Cut: Making up a significant part of the FotoFreo 2012 Open Exhibition Program, this exhibition comprised bodies of work by 62 of the world’s most innovative photographers and photojournalists, including artists from Argentina, Canada, the Czech Republic, Germany, India, Italy, Japan, Lebanon, Spain, Turkey, the Ukraine, the United Kingdom and the United States, in addition to local and national photographers. The exhibitions showed in Block 2, filling the eastern half of the building.

- The Pilbara Project: The Photographers’ Cut: FORM invited leading Australian photographers Peter Eastway, Christian Fletcher, Tony Hewitt and Dr. Les Walkling to explore the Pilbara region throughout 2010. For Divergence the artists selected their favourite images from the series, with Block 2 providing an evocative context for their documentation of this epic region.

____ 01 Installation shot of Divergence: Photographs from Elsewhere in Block 2, Midland Railway Workshops. Photo by Matt Biocich

- Awkward Beauty: The Photographer’s Cut: Selected photographic works by Midland Atelier’s resident photographer, Michelle Taylor, from her 2011 Awkward Beauty collaboration

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with artists-in-residence Helen Britton and Justine McKnight.

Large-format prints of the photographs were installed in unexpected locations throughout the Workshops site.

Associated/complementary programming comprised: - Once upon a time when the pigs chewed lime...: Pattern Shop resident designer Alex Fossilo’s solo exhibition showed in the Water Tower in conjunction with Divergence.

- Beat That: Midland Atelier choreographer-in-residence Jacob Lehrer presented the world premier of his site-specific work, Beat That in the Foundry building for an audience of approximately 100 guests, in two performances on Saturday 17 March.

78 artists participated in Divergence Elsewhere Sam Harris (Australia/United Kingdom) Sohrab Hura (India) Martin Parr (United Kingdom) Ketaki Sheth (India) Bharat Sikka (India)

DIVERGENCE: The Photographers’ Cut Chandan Ahura (India) Nigel Bennet (Italy/UK) Ellen Bornkessel (Germany) Sara Jane Boyers (USA) Vita Buivid (Russia) Sundari Carmody (Australia) Neil Chowdhury (USA) Martin Cox (USA) Jagath Dheerasekara (Australia/Sri Lanka) Catarina Diedrich (Spain) Eva Fernandez (Australia) Andrew George (USA) Denis Glennon AO (Australia) Natalie Grono (Australia) Alan Hill & Kelly Hussey-Smith (Australia)

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Edwin Janes (Australia) Rhea Karam (USA/Lebanon) Munish Khanna (India) Andrej Kocis (Australia) David Manley (Australia) Prudence Murphy (Australia) Matthew Newton (Australia) Sarah Rhodes (Australia) Maurizio Salvati (Australia) Jan Schuenke (Germany) Flavia Schuster (Argentina) Marc Shoul (South Africa) Natasha Shulte (Ukraine) Lia Steele (Australia) Michael Stone (Australia) Gemma-Rose Turnbull (Australia) Salih Urek (Turkey) Elizabeth Wintle (UK) Josh Wodak (Australia) Art Wolfe (USA)

The Atomic Photographers Guild (comprising 24 international photographers): Jessie Boylan (Australia) Berlyn Brixner (USA, deceased) Dan Budnik (USA) James Crnkovich (USA) Blake Fitzpatrick (Canada) Nancy Floyd (USA) Harris Fogel (USA) Carole Gallagher (USA) Peter Goin (USA) Kenji Higuchi (Japan) John Hooton (USA) Igor Kostin (Russia) Yuri Kuidin (Kazakhstan) James Lerager (USA) Andreas Lobe (Germany) Yoshito Matsushige (Japan, deceased) David McMillan (Canada) Patrick Nagatani (USA) Barbara Norfleet (USA) Elin O’Hara Slavik (USA) Paul Shambroom (USA) Robert Del Tredici (Canada) Vaclav Vasku (Czech Republic) Gunter Zint (Germany)

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The Pilbara Project: The Photographers’ Cut Peter Eastway (Australia) Christian Fletcher (Australia) Tony Hewitt (Australia) Dr. Les Walkling (Australia)

Awkward Beauty: The Photographer’s Cut Helen Britton (Germany) Justine McKnight (Australia) Michelle Taylor (Australia)

Once Upon a Time when the Pigs Chewed Lime...

Alex Fossilo (Australia)

Beat That - STRUT Dance Peter Fares (Australia) Jacob Lehrer (Australia) Maitland Schnaars (Australia) Niharika Senapati (Australia) Sholto Spadbury (Australia)

MIDLAND ATELIER

Once Upon a Time when THE Pigs Chewed Lime...

Alex Fossilo solo exhibition ____ 01 Design development sketches by Alex Fossilo. ____ 02 Alex Fossilo with his Once upon a time when the pigs chewed lime... exhibition at the Watertower, Midland Railway Workshops, in association with the Divergence: Photographs from Elsewhere.

Photo by Matt Biocich.

Once upon a time when the pigs chewed lime... was exhibited in association with the Divergence program, was the ďŹ rst solo exhibition by young Western Australian designer and Pattern Shop resident Alex Fossilo (who launched the show under the moniker Fosax).

was laid bare and made available for public dissection, focusing on creative exploration over resolved form.

This project was the outcome of a Young People and the Arts Creative Development Fellowship awarded to Fossilo by the Western Australian Department for Culture and the Arts.

The exhibition was a multidisciplinary exploration of process, playing on the boundary between function and dysfunction, while emphasising Fossilo’s methodology and working practice.

Combining drawing with furniture and lighting design, the artwork

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‘For this exhibition I have not set out to develop and make any particular piece of furniture. Rather I wanted to explore several detailed concepts through sketches, drawing and the process of making, and attempt to covey these ideas as a cohesive body of work. Some pieces originated, for example, by looking at less conventional methods for joining timber, or with the intent to push a material to its limits. I have attempted to document the process, which I see as being as important as a finished piece. Some concepts are presented at different stages of resolution, but they are all part of a connected thought process.

Being my first exhibition, the intention is for the ideas generated to feed into future work and express my style of work.’

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Alex Fossilo speaking about his work for ‘Once Upon a Time when the Pigs Chewed Lime...’

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MIDLAND ATELIER

Midland Atelier Residencies

Midland Atelier visiting residents in 2012 Alexander Lotersztain Adam Goodrum Eva Fernandez Jacob Lehrer David Trubridge Penny Forlano

The Pattern Shop is home to Midland Atelier’s artist and design residency program. The Atelier’s wood, furniture and three-dimensional object design studio accommodates around 15 local, national and international designers on a permanent and visiting basis. Pattern Shop Studio residents in 2012 included senior designers Jon Goulder and Nick Statham, and designers in residence, Guy Eddington, Mark Elbin, Alex Fosillo, Warren Hayes, Daniel Hood, Tim Leaversuch, Philipp Rinkens, Brianna Russell, Nick Statham and interns Nathan Day and Andrew Shaw.

The Pattern Shop provides broad and meaningful support for its resident designers through channels including creative development (residency and exhibition opportunities), professional development

(skills sharing, mentorship and networking) and an artist-inresidency program that hosts local, national and international creatives across a range of disciplines.

The Pattern Shop welcomed six new visiting and resident designers and artists during 2012, and in December said goodbye to Head of Pattern Shop, Jon Goulder.

Goulder spent the past six years as a mentor and senior designer and during his time at Midland Atelier delivered a number of significant, high-profile commissions. FORM is thankful for his past commitment and looks forward to seeing this outcomes of the next intensive period of design investigation by one of Australia’s most talented designers.

Western Australian-based dancer and choreographer Jacob Lehrer resided at the Atelier from

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MIDLAND ATELIER

December 2011, until March 2012.

After viewing Belgian street artist ROA’s Paradox exhibition at FORM Gallery in late 2011, Jacob began researching Midland Atelier and was inspired to approach FORM with a request to develop a site-specific work at the Midland Railway Workshops.

The residency took place in early 2012 with the resulting work, Beat That premiering as part of the Divergence exhibition program open day on Saturday 17 March.

a series of mentorship workshops.

The workshops were organised to inform the development of FORM’s From the Atelier exhibition, scheduled for launch in June 2013.

From the Atelier will compromise a collection of new and innovative furniture and homewares by residents of the Pattern Shop, past and present, informed by the mentorship of some of Australia and New Zealand’s leading designers, include Goodrum, Lotersztain and David Trubridge.

Beat That was made possible through the Strut Contemporary Dance SEED Residencies program, which is supported by the Western Australian Department of Culture and the Arts Future Moves initiative.

During their time at Midland Atelier the designers also held an industry event, which attracted 70 guests to the Pattern Shop from the interior design and architecture sector. The event incorporated presentations from the visiting designers alongside Jon Goulder and Nick Statham, the designers discussing their making and

In May, Australian design icons Adam Goodrum and Alexander Lotersztain visited the Atelier for

design process, careers and future projects, and the potential of Midland Atelier.

International design icon, David Trubridge returned to the Atelier in April to continue his ongoing mentorship with senior designer Nick Statham. The outcomes of the collaboration will show at FORM Gallery in June 2013.

In October, Penny Forlano, a lecturer in interior architecture at Curtin University of Technology and well-regarded Australian designer approached FORM

____ 01 Lectus infractus, Eva Fernandez, 2011. Archival inkjet print. ____ 02 Lectus reconcilio, Eva Fernandez, 2011. Archival inkjet print.

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requesting a part-time space in the Pattern Shop. Currently working on her Ph.D., Penny sought space within the Atelier in order to work collaboratively with other creatives and to seek constructive feedback and criticism regarding her research.

Western Australian photographer and artist Eva Fernandez joined the Pattern Shop as an artistin-residence in December 2012.

Incorporating photography and site-based installation, Eva’s practice reinterprets the past in order to articulate contemporary concerns relating to place and identity.

invited Eva to undertake a similar residency project at Midland Atelier, aimed at producing a body of new work in response to the site’s industrial past. The project will be showcased in a site-specific installation in 2013. Eva also exhibited works from her highlylauded terra (australis) incognita series in Block 2 as part the Divergence showcase in March.

‘When I rang FORM and was told about The Foundry, with its sand floor, I couldn’t resist … it is a beautiful space to work in, very inspiring with a character of its own.’

JaCob Lehrer, dancer and choreographer

____ 01 Designers Nick Statham, Alexander Lotersztain, Jon Goulder and Adam Goodrum, at the Midland Atelier, Design Industry night. Photo by Matt Biocich.

During the past two years Fernandez has undertaken major residency projects at the Fremantle Arts Centre and the Heathcote Museum and Gallery, creating new bodies of work that explored the buildings’ heritage as mental health facilities. In 2012 FORM

____ 01 Works by Sam Harris in Elsewhere as part of the Divergence: Photographs from Elsewhere exhibition program. Photo by Matt Biocich.

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Awkward Beauty tour to Canberra

____ 01 (Previous page) Solid Marri side tables designed at Midland Atelier.

Photo by Eva Fernandez. ____ 02 Installation of Awkward Beauty exhibition in Canberra. Photo by Michelle Taylor. ____ 03 Awkward Beauty, garment by Justine McKnight, brooch by Helen Britton and photograph by Michelle Taylor, 2011.

Awkward Beauty is a multidisciplinary exhibition developed by artists, Helen Britton, Justine McKnight, Michelle Taylor and curated by FORM as a response to their residencies at Midland Atelier in 2010-2011, and their personal experiences of working amongst the historic buildings.

During this period, jewellery artist Helen Britton returned from Munich, Germany for a three-month residency at the Atelier, where she met Perth photographer Michelle Taylor for the first time, and reconnected with Perth garment designer Justine McKnight. Awkward Beauty was the collaborative result of the dialogue between the three artists, each of whom prodded and dissected the complex notion of ‘beauty’ in regard to art, style and the built environment. Each artist created a body of 10 works (jewellery, garments, photography) in response to the work created by the others.

After its successful launch in October 2011 at the Midland Atelier Pattern [ 50 ]

Shop, the School of Art Gallery at the Australian National University invited FORM to tour the exhibition to Canberra to run in September as part of the project Fashionably Early project in Canberra.

Fashionably Early is major national design and fashion event co-hosted by the Canberra Institute of Technology (CIT) Fashion Department at the Gallery Of Australian Design (GAD - previously the National Portrait Gallery). GAD explores and promotes Australian design through exhibitions, discourse and events and is host to international design exhibitions for Australian audiences.

The Awkward Beauty exhibition included a substantial catalogue published by FORM that travelled with the exhibition.

MIDLAND ATELIER

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The National Gallery of Australia acquired the work Awkward Beauty 5 from the FORM-curated Awkward Beauty exhibition. The work, a creative ‘set’ of components, comprised a dress designed and made by Justine McKnight, a silver, glass and paint brooch by Helen Britton and a colour digital print

by Michelle Taylor.

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MIDLAND ATELIER

Midland Atelier Future Development

In recent years FORM has invested significant resources into planning, advocating and fundraising toward the next stages of growth for Midland Atelier, in particular the Digital Media Hub. FORM continues to work closely with the Atelier’s Principal Partner, the Metropolitan Redevelopment Authority (MRA) to facilitiate significant partnerships and other funding opportunities.

Atelier with great success and from this perspective the core aims in the development of Midland Atelier remain on track: to develop the Pattern Shop fine wood and furniture facility into a successful and more sustainable operation; to explore opportunities to build on this facility with additional multi-disciplinary studios; and to offer a continual program of site activation and cultural projects.

After submitting a second largescale application to the Regional Development Australia Fund’s Round Two early in 2012 (and fifth large-scale proposal overall), FORM was informed in July that its application had been unsuccessful; despite high levels of matched funding, the majority of that funding was in matched assets rather than matched cash funding. Since this disappointing outcome, FORM has continued to work to explore final alternatives for additional matched funding to support a renewed application to Round Four of the RDAF federal scheme. Meetings with the leadership of Minister Day’s office, Department for Culture and the Arts, and ScreenWest explored options for this support.

Unfortunately in late 2012 FORM received formal notification from Minister Day’s office that the funding would not be forthcoming as the State does not have the funds. This is a significant loss for the state and the many creatives who work in the sector.

While these efforts to develop additional buildings for the expansion of the Midland Atelier have proven challenging from a hard infrastructure perspective, FORM continues to progress the soft infrastructure around the

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____ 01 Anigozanthos flavidus, Eva Fernanadez, 2011, archival inkjet print.

MIDLAND ATELIER

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CITY OF WALLS

____ 01 Beastman at work on the collaborative Beaufort Street mural in collaboration with Creepy and Numskull. Photo

by Phil Hill. ____ 02 Beastman working on his collaborative mural with Creepy and Numskull in Mt Lawley. Photo

by Daniel Craig.

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CITY OF WALLS

In late 2011 FORM introduced its City of Walls initiative with the launch of a website (www.city-ofwalls.com) and a major exhibition by internationally regarded street artist ROA (in October 2011). Since then, City of Walls has continued to connect artists, businesses and local councils in order to encourage new commissions of street art, thereby enhancing the vitality and appeal of Perth’s hidden, unused and lack lustre urban spaces.

CITY OF WALLS

01

in urban and place activation; and with its community-driven image gallery, the website is also a forum for sharing and discovering building and street art throughout Perth and in other places.

The City of Walls website promotes dialogue around the role of art

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Living Walls exhibition

____ 01 Living Walls at FORM Gallery.

Photo by Bill Shaylor. ____ 02 Opening night at Living Walls.

Photo by Jarrad Seng. ____ 03 Opening night at Living Walls.

Photo by Jarrad Seng. ____ 04 Opening night at Living Walls.

Photo by Sarah Tierney.

Opening at FORM Gallery Perth on June 28, Living Walls was an extension of the City of Walls concept: an exhibition showcasing the work of a diverse group of 16 street and mural artists, illustrators and designers whose work dynamically enlivens the built environment. Featuring established and emerging local and national artists, Living Walls encouraged Western Australians to think differently about the potential for street, mural and graffiti art to transform the texture and appeal of their urban landscape.

Like City of Walls, Living Walls also aimed to connect artists, businesses and local councils in order to stimulate projects that would further enhance the city’s appeal. With a number of local councils represented at the opening of Living Walls (attendance exceeded 1,000), the exhibition also highlighted the [ 56 ]

overwhelming public appeal of contemporary street art to local government bodies and businesses.

The exhibition also set out to exploit another of FORM’s drivers: retaining Western Australian creative capital. Living Walls explored the potential to generate new income streams for local artists through collaborative projects with young innovative local businesses. This lead to a number of other public art commissions in Perth.

At the heart of the exhibition was an unusual collaboration with Perth start-up Quiet Acoustics, which specialises in the production of lightweight acoustic panelling with a surface that can be digitally printed or spray-painted.

Subsequently the exhibition featured a range of more than 30 limited-edition prints and original, hand-applied artworks on Quiet Acoustic panels by artists including

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01

Andrew Nicholls, Jodee Knowles, Sean Morris, Shannon Crees, Anya Brock, Chris Nixon, Jae Criddle, Amok Island and Chloe SpiersAtherden.

In addition to the gallery artworks, Living Walls featured a range of works with a more ‘street’ ethos and aesthetic. The show included a series of ‘paste-ups’: large-scale prints on paper, wallpapered directly to the wall.

03

Crucially, Living Walls extended beyond the confines of the gallery, into the surrounding city and suburbs through a series of commissioned public murals and large-scale paste-ups.

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01

Beastman Creative Residency

____ 01 Artist Chloe Spiers-Atherden pasting up Jae Criddle’s artwork in the Perth Cultural Centre. Photo

by Phil Hill. ____ 02 Beastman at work on his collaborative mural with Creepy and Numskull in Gold Lane Subiaco. Photo by Daniel Craig. ____ 03 Steven Christie paste-up in the Perth Cultural Centre. Photo by Phil Hill. ____ 04 Numskull at work on the collaborative Beaufort street mural with Creepy and Beastman.

Photo by Phil Hill.

As part of the Living Walls exhibition, FORM invited Sydneybased artist and designer Beastman to participate in a Perth residency.

In addition to producing original artworks on acoustic panels for the exhibition, Beastman brought to life an extraordinary spray-painted mural on the gallery’s feature wall.

The making of this piece, which appeared to float above the surface of the gallery wall, was captured in short film by Naveed Farro and Louis Rodan. The film also featured in Living Walls.’

Living Walls exhibiting artists Anya Brock Beastman Jodee Knowles Sean Morris Chris Nixon Amok Island Chloe Spiers-Atherden Andrew Nicholls Shannon Crees Jae Criddle Steven Christie Cheeky

ABC Radio at Living Walls in FORM Gallery

Chad Peacock (filmmaker) Creepy (Kyle Hughes-Odgers) Numskull

Living Walls was also the venue for 720 ABC Perth’s live Friday broadcast of the Drive Program, which featured Judith Lucy, Helen Morse and Nerissa Campbell and was co-hosted by Pete Rowsthorn who was impressed by the ‘high art graffiti’ featured in Living Walls.

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Naveed Farro (filmmaker) Louis Rodan (filmmaker)

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public artwork outcomes FORM achieved one of its key goals for City of Walls in 2012, which was to encourage new commissions for street art in Perth.

Public art commissions enabled as a direct outcome of City of Walls

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Gold Lane, Subiaco.

A Beastman, Creepy and Numskull collaborative mural complementing the architectural heritage values of Subiaco.

City of Subiaco commission.

Daily Planet, Beaufort Street, Mt Lawley Another Beastman, Creepy and Numskull collaborative mural, this time celebrating the dynamic and culturally diverse area around Beaufort Street in kaleidoscopic colours. City of Vincent commission.

Perth Cultural Centre.

The paste-up images of Chloe Spiers-Atherden, Jae Criddle, Andrew Nicholls, Steven Christie and Cheeky emblazoned walls, staircases and other surfaces across the Cultural Centre.

Commissioned by the Metropolitan Redevelopment Authority.

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Mt Lawley.

Shannon Crees paste-up.

Private commission.

Chloe Spiers-Atherden paste-up.

Private commission.

Mt Lawley. Jae Criddle paste-up.

Private commission.

Police Station Wall, Glass Lane, Port Hedland Mural by Kyle Hughes-Odgers AKA Creepy.

Westpac Building Wall, Wedge Street, Port Hedland Mural by Kyle Hughes-Odgers AKA Creepy.

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CITY OF WALLS

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Creepy in the Pilbara

____ 01 Mural (detail) on Wedge Street, Port Hedland by Kyle HughesOdgers. Photo by Kyle Hughes- Odgers. ____ 02 Mural (detail) on the Port Hedland Police Station by Kyle HughesOdgers. Photo by Kyle Hughes-Odgers. ____ 03 Painting on abandoned bus in the Pilbara by Kyle Hughes-Odgers.

Photo by Kyle Hughes-Odgers.

In July FORM, with support from BHP Billiton’s Community Grants Program, commissioned leading Perth street artist Kyle Hughes-Odgers, AKA Creepy, to transform two blank walls in Port Hedland’s West End to help engage and activate the surrounding spaces. The project formed part of FORM’s regional infrastructure undertakings in the town.

he will focus on painting public buildings in regional towns across Western Australia. Creepy’s mural work will reflect a particular aspect of each town’s history and culture, including the story and origin of each building he works with.

Filmmaker Chad Peacock has been recording Creepy’s creative process in each town and is producing a documentary about the project.

During his residency in Port Hedland Creepy also visited the Hedland Senior High School where he held drawing and illustration classes with the school’s Art and Specialist Art Program students.

More than 40 students participated overall. The workshops were designed to illustrate the distinction between urban artwork as a genuine form of contemporary art and ‘tagging’ and ‘graffiti’.

Creepy will also exhibit a collection of gallery work, titled We Will Know When We Are Home, at the Port Hedland Courthouse Gallery in February 2013 alongside the A Pilbara Stories exhibition.

Peacock’s film about the project will be screened as part of this exhibition.

The two walls in Port Hedland will eventually form part of a larger project by the artist, in which [ 60 ]

CITY OF WALLS

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THE Canning Stock Route Project

THE CANNING STOCK ROUTE PROJECT

In 2012 the primary portion of The Canning Stock Route Project yet to be delivered was the immense task of repatriation of content to the participating communities, due for completion in 2013. Meanwhile, the major exhibition of The Canning Stock Route Project Yiwarra Kuju: the Canning Stock Route, continued its national tour, exhibiting at the Australian Museum in Sydney until April 2012.

The success and reach of the Canning Stock Route Project has continued well into 2012, with a smaller component of Canning Stock Route photography and film curated for exhibition in India as part of OzFest, in addition to the successful Sydney showing of Yiwarra Kuju. The exhibition will also travel to the Queensland Museum in May 2013, coinciding with the launch of the Canning Stock Route mobile app and digital repository.

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The Canning Stock Route Project is a groundbreaking cross-cultural initiative that has become a model for intercultural collaboration and engagement, generating important professional and artistic outcomes for Aboriginal artists with cultural and historical connections to the Canning Stock Route. The Project began in 2006 and was developed through a unique alliance between FORM and ten Aboriginal art and culture centres across north Western Australia. The Project has delivered a five-year professional development program for young Aboriginal curators and filmmakers; its collection of artworks and documentary materials was acquired by the National Museum of Australia (NMA) in 2008 as a ‘national treasure’.

THE CANNING STOCK ROUTE PROJECT

Although Aboriginal people are amongst the most researched groups in the world, their cultural knowledge has been consistently removed from communities and deposited in distant institutions.

While safely preserved in these locations, these kinds of records are notoriously difficult for Aboriginal people to locate and access, creating a vacuum in communities that has radically impacted on the transmission of cultural knowledge between generations.

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Repatriation and the Canning Stock Route Digital Futures Project

In light of this, FORM is committed to repatriating to participating art centre communities all of the cultural materials gathered and recorded on the Canning Stock Route Project since 2006.

This vast repository of cultural materials includes hundreds of hours of High Definition footage, over 250 oral histories and interviews, over 20,000 photographs and a range of other curatorial and research materials.

The Canning Stock Route Digital Futures project will make it

____ 01 Jakayu Biljabu and Kumpaya Girgaba with the Caning Stock Route canvas at Newman Creek.

Photo by Mollie Hewitt. ____ 02 Content approvals meeting in Parnngurr. Photo by Tim Acker.

possible for Canning Stock Route Project Alliance communities to access, use, manage, benefit from, control public access to, and retain ownership over their increasingly valuable, and vulnerable, Aboriginal Cultural and Intellectual Property (ICIP) materials.

To do this, FORM has been developing a digital repatriation model that will enable participating communities to access their materials instantly online. Project content will also be repatriated to art centres via external hard drives so that the ICIP of artists can be stored on art centre servers. However the online repository will allow far greater community access, and enable multiple users to access the archive at any time. It will also ensure that schools, and the general public, are able to access public layers of the archive for research and general use.

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THE CANNING STOCK ROUTE PROJECT

Canning Stock Route mobile, tablet and web app

The Canning Stock Route Digital Futures Project also involves the development of an app for mobile devices based on the internationally award-winning One Road multimedia interactive, which was the signature piece of the Yiwarra Kuju exhibition. Only around 60 of the Project’s 250 or so Aboriginal contributors have been able to see the exhibition and One Road interactive to date due to the enormous cost of travel from remote areas to capital cities, and the even more prohibitive cost of touring the show and multimedia to remote regions. The Canning Stock Route app will enable these experiences

to come home to contributors by converting the interactivity, content and design of One Road to mobile and web platforms. This innovative approach to cultural repatriation democratises access to content for remote Aboriginal, as well as regional, state, national and international audiences, and promotes mainstream and Aboriginal engagement with material that has been recognised as a national treasure.

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THE CANNING STOCK ROUTE PROJECT

The Canning Stock Route Digital Futures Project comprises: online digital repository An online digital repository powered by Mukurtu (www.mukurtu.org) - an Aboriginal protocolsbased content management system (CMS) developed by Berkley and Washington State universities. Mukurtu has partnered with FORM to develop a platform that specifically addresses the needs of the Canning Stock Route Project. Unrestricted layers of the CSR archive will be publicly accessible via the Mukurtu CMS, however, Aboriginal contributors control access to the project content in accordance with cultural protocols.

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MOBILE APP A highly-interactive, content-rich app that would bring to life on iPad and iPhone (and android devices with sufficient funding) the deep and rich interactive experience of the Canning Stock Route Project’s award-winning One Road multimedia.

INTERACTIVE APP A highly interactive browser-based experience of the Canning Stock Route app, which is non-device dependent and free-to-access, ideal for use by remote communities, schools and international use.

____ 01 Child exploring the One Road interactive at Yiwarra Kuju in Perth. Photo by Tim Acker. ____ 02 Morika Biljabu photographs the repatriation workshops in Newman. Photo by Mollie Hewitt. ____ 03 Nola Taylor in discussion at the repatriation workshops at Martumili Artists, Newman.

Photo by Mollie Hewitt.

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THE CANNING STOCK ROUTE PROJECT

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Newman Repatriation Trip workshopping the Canning Stock Route Digital Futures Project

____ 01 CSR project team members Monique La Fontaine and Tom Lawford and Arts Law Centre of Australia Deputy Director Delwyn Everard look over draft agreements in Newman. Photo by Mollie Hewitt. ____ 02 The CSR Project team and Delwyn Everard look over project plans in Newman. Photo by Mollie Hewitt. ____ 03 Kumpaya Girgaba and Hayley Atkins look through CSR project materials. Photo by Mollie Hewitt.

03

In early June 2012, the Canning Stock Route Project team travelled to the east Pilbara town of Newman for a five-day Repatriation workshop with Martumili Artists.

As the art centre with the largest number of artists and team members having participated in the Project since 2007, Martumili was the perfect location for the Aboriginal team and contributors to assess the viability of the Digital Futures Project model as the best means of repatriating ICIP to communities, and to workshop and refine the legal frameworks that will underpin the Project, developed in draft form by Arts Law and FORM. Canning Stock Route Project team members travelled from Fitzroy Crossing, Parnngurr, Punmu, Jigalong and Perth to workshop the legal frameworks, structure and delivery of the repatriation project.

Arts Law Centre of Australia

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Senior Solicitor Delwyn Everard travelled from Sydney to facilitate the legal workshops, as did the Lawrence Creative Strategy team who documented the workshops and interviewed all Aboriginal members of the Project team.

The Arts Law Centre of Australia and Herbert Smith Freehills Law Firm have both partnered with FORM pro bono to ensure that the Canning Stock Route Digital Futures Project is a pioneering model of best practise.

The Newman Digital Futures workshop was enormously successful with the project model overwhelmingly endorsed by artists and team members. Arts Law, Herbert Smith Freehills and FORM are now in the process of developing the comprehensive range of legal documents and agreements that will return legal ownership of the Project’s ICIP materials to Aboriginal contributors, a first of its kind in Australia.

THE CANNING STOCK ROUTE PROJECT

Yiwarra Kuju: the Canning Stock Route at the Australian Museum, Sydney

____ 04 Exhibition visitors explore the One Road interactive in Perth. Photo

by Tim Acker.

Yiwarra Kuju: the Canning Stock Route was co-produced by FORM and the National Museum of Australia and its debut at the NMA attracted record-breaking attendance for the Museum.

Yiwarra Kuju toured to the Australian Museum in Sydney during the ďŹ rst half of 2012. It formally opened in Sydney at the end of 2011, with project team members Tom Lawford, Curtis Taylor and Monique La Fontaine attending the opening events.

During their visit project team members were interviewed by SBS and NITV about the development, concept and signiďŹ cance of Yiwarra Kuju.

The exhibition concluded at the end of April, and throughout its season at the Australian Museum, over 37,500 people visited the show.

95% of visitors to the exhibition said that they would recommend it to others.

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THE CANNING STOCK ROUTE PROJECT

01

Exhibition and cultural engagement in India ____ 01 Students watch the Canning Stock Route Project films in Tilonia.

Photo by Monique La Fontaine. ____ 02 Visitors to the Pilbara Project exhibition at the Lalit Kala Akademi discuss the Canning Stock Route Project photography.

Photo by Sohrab Hura. ____ 03 The Canning Stock Route exhibition at the Barefoot College in Tilonia. Photo by Monique La Fontaine. ____ 04 Visitors enjoy the Canning Stock Route exhibition at the Barefoot College in Tilonia. Photo by Monique La Fontaine.

Following The Pilbara Project’s success at the Lalit Kala Akademi in New Delhi (see The Pilbara Project, page 24), FORM was invited to stage an exhibition of Canning Stock Route Project photography and films in India alongside an exhibition of photographs by Indian photographer Sohrab Hura, as part of his residency with FORM in the Pilbara during March and April 2012. Hura’s haunting black and white photographs, documenting a hunting trip in Roebourne with Ngarluma traditional owners, provided a unique counterpoint to the Canning Stock Route Project’s vibrant images of people, artmaking, cultural ceremonies and Country.

The series of films and photography from the awardwinning Canning Stock Route Project was selected to represent the rich cultural landscape of the

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East Pilbara region. Occupying a discrete area of the Lalit Kala Akademi, the Canning Stock Route Project films and photography vividly embodied the Aboriginal wealth of the region and captivated Indian audiences.

Martu photographer Morika Biljabu’s images reflected her people’s profound ties to Country, the lightness and exuberance of relationships between Aboriginal elders and youth, the significance of painting as a means to preserve and pass down cultural knowledge, and the critical importance of water as the source of sacred belief in the desert.

In contrast, Canning Stock Route Project co-founder Tim Acker’s photographs captured stark and intimate landscapes along the route: starscapes, saltpans, culled camels, living waters and surreal multi-hued vegetation. The Canning Stock Route exhibition also featured a selection of the

THE CANNING STOCK ROUTE PROJECT

Project’s most loved films by Morika Biljabu, Curtis Taylor, KJ Kenneth Martin, Clint Dixon and Nicole Ma, offering exhibition goers a deeper insight into the history and culture of the Canning Stock Route region.

The Pilbara Project exhibition was featured as part of the Australian Cultural Festival, the official program of the Australian Cultural Festival (OzFest). OzFest was launched by Australia’s Prime Minister, Julia Gillard, at Purana Qila on 16 October where she spoke of The Pilbara Project in glowing terms and met with FORM’s curators Monique La Fontaine and Sharmila Wood.

The Canning Stock Route Project was also invited to stage an exhibition of photography at the Social Work and Research Centre (SWRC) in Tilonia, Rajasthan in November 2012. The SWRC, known also as the Barefoot College, was founded by Bunker Roy in 1972 as an organisation focused on empowerment and sustainability, working across the fields of

education, skills development, health, drinking water, women’s empowerment and electrification through solar power for the development of rural communities.

‘These pictures are full of heart.’

Barefoot College Director, speaking about the Canning Stock Route Project photography, November 2012

This Canning Stock Route Project exhibition opened on 19 November in Tilonia and featured over 40 photographs by Morika Biljabu and Tim Acker. The exhibition also featured a series of films by Morika Biljabu, Clint Dixon, Nicole Ma and Curtis Taylor.

The Barefoot College Communication Department, which produces many short films about the Barefoot College and its work, also filmed the Canning Stock Route Project exhibition, which was viewed by students, staff, heads of department, employees, international solar engineering trainees and Tilonia School primary and secondary students.

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LAND.MARK.ART

LAND.MARK.ART

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LAND.MARK.ART

2012 was another successful year for FORM’s Land.Mark.Art model with nine artworks fabricated for projects across the Pilbara and 11 new artists taken through the professional development program.

Since the model’s inception in 2009, FORM has continued to refine, document and deliver Land.

Mark.Art in partnership with Brisbane-based public art design and fabrication consultancy Urban Art Projects (UAP).

Land.Mark.Art is a model for the creative development and engagement of artists looking to explore three-dimensional arts practice, offering a unique training program that involves industry mentors working with visual artists over a hands-on, dedicated continuum of time. The program helps transition the artists’ skills so that they can be applied to design and three-dimensional disciplines that are relevant (but not limited to) public art projects. The artists are engaged fully and equitably at every stage and process: from initial design and conceptual work through to the stages of exploration, refinement and model making, and fabrication and the final product.

Group for LandCorp’s Baynton West development in Karratha, were fabricated at UAP’s Brisbane foundry. The public art pieces created by six Roebourne artists celebrate their love of Ngarluma and Yinjibarndi country, and each continues themes common in their painting: Wendy Warrie is inspired by the flow and catchment of water in the land; Violet Samson expresses the vibrant colours of her country through the changing seasons; Janine Samson and Gavin Snook are inspired by the refraction and reflection of light bouncing off stones caught under the natural lens of water pools; Pansy Hicks’s work tells stories of dreaming or ‘when the world was soft’; and Alice Guinness paints about the Bundut women’s ceremonial dance.

Residents and visitors to the Baynton West development in Karratha will be able to celebrate the official unveiling of the artworks in mid-2013.

The Land.Mark.Art model is predicated on the belief that good public art is a strong placemaking tool, and that it is best created through identifying and articulating the stories, beliefs and skills inherent to a place and its people: what they consider to be important and cherished.

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Over the course of the year, five breathtaking artworks, designed by artists from Roebourne Art

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____ 01 Wendy Warrie’s Flooded River, in fabrication. Photo by Rachel See, Urban Art Projects.

LAND.MARK.ART

Spinifex Hill Artists and Land.Mark.

Art

____ 01 Esther Quintal, design stage of her stepping Stones. Photo by Beth Campbell. ____ 02 Ann Sibosado’s, Seeds of Life, shade canopy in the newly refurbished Wedge Street. Photo

by Barry Winterborne.

South Hedland art group Spinifex Hill Artists was taken through the Land.Mark.Art model for the first time in 2012, creating vibrant and playful artworks for two key developments in Port Hedland’s West End precinct: the Cemetery Beach Park redevelopment and the Wedge Street upgrade.

FORM and UAP facilitated a concept design workshop wherein ten Spinifex Hill Artist members were supported in the design of playscape elements for Cemetery Beach, three of which were chosen for the park. Opened by the Minister for Regional Development and Lands, Hon Brendon Grylls in

September, the playscape concepts present a playful experience of discovery and adventure.

Channelling the artists’ memories of Cemetery Beach as it was when Port Hedland was a much smaller town, each of the artworks focuses on qualities and features of the local natural environment: Ann Sibosado’s Gumnut Talkies turn the gumnut into a tool for playful and mysterious communication; Irene Coffin’s Spinning Wattle Buds provide an opportunity for children to learn about the different ways a local Acacia plant can be used for food; and Esther Quintal’s Stepping Stones encourages and rewards a local pastime of turtle tracking.

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LAND.MARK.ART

Ann Sibosado was commissioned to design the feature shade canopies for the upgrade of Port Hedland’s historic main street, Wedge Street. Travelling to Brisbane in January 2012, Sibasado worked under the mentorship of FORM and UAP to finalise her design, which considers the things that are constant; the natural world and the cycles of life. The design of the shade structures is based on seeds, with her chosen colour reflecting the distinctive mauve of the local Mulla Mulla wild flower.

‘This is the story of the seed. Seeds are both the beginning and the end of things – they come after the fruit and before the new plant.

It is about flow, all flowing everywhere. Like life, we can choose to stay in one place or move all the time. But we will always come back home. The journey of the seed is like our journey – we move through different places but we always come right back to the beginning again.

The big round ones, they are the fruit. The others are the seeds falling down and lying at the bottom – that is the end of their journey.’

Spinifex Hill artist Ann Sibosado speaking about her Land.Mark.Art public work, ‘Seeds of Life’, installed in Wedge Street, Port Hedland.

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LAND.MARK.ART

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Jill Churnside Aboriginal Professional Development

Also in 2012, FORM commenced a program of professional development with Ngarluma artist Jill Churnside, who is working towards a solo exhibition for FORM Gallery in 2013 and is involved in FORM’s Ngarluma Tabi Project.

The exhibition will feature paintings, song recordings and new three-dimensional works that tell the history of Roebourne and the cultural and spiritual significance of the country that surrounds it from the Ngarluma perspective.

The first stage of the project saw Churnside travel to Brisbane in September with her sister, artist Maggie Churnside to undertake the first of a series of Land.Mark.

Art workshops with FORM and UAP. The concepts explored during

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the workshop will be further developed by Churnside in 2013, with the full-scale sculptures to be commissioned and fabricated for her exhibition later in the year.

Please refer to page 108 for more detail regarding Jill Churnside’s developmental work and the Ngarluma Tabi Project.

____ 01 Artist Jill Churnside with UAP designer Dan Clifford in a workshop in Port Hedland. Photo

by Beth Campbell. ____ 02 Jill Churnside and Maggie Prewett work on scale models at UAP studio in Brisbane. Photo by Beth Campbell.

LAND.MARK.ART

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‘I would say that Maggie and I both found the workshop really stimulating ... that’s a mild word … it was wicked! Aboriginal artists from isolated areas should have a FORM/UAP experience.

We enjoyed the opportunity of exploring and working with other materials that we normally don’t use.

The use of clay, polystyrene and plasticine, we explored shape and scale. We also produced a series of drawings and pattern work. We both agreed that we didn’t want to leave!’

Ngarluma artist Jill Churnside on her Land.Mark.Art workshop at Urban Art Project’s facilities in Brisbane 01

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PUBLIC ART CONSULTANCY

Artists involved Alice Guinness Andrew Nicholls Ann Sibosado Barry McGuire Beastman Carol Innes Cheeky Chloe Spiers-Atherden Creepy David Trubridge Esther Quintal Gavin Snook Irene Coffin Jae Criddle Janine Samson Jill Churnside Kim Scott Maggie Churnside Numskull Shannon Crees Steven Christie Violet Samson Wendy Warrie

Artistic disciplines Literature Painting Drawing Design Sculpture Digital art Street art

In addition to delivering a range of public art opportunities for artists living in the Pilbara through Land.

Mark.Art, FORM has continued to grow its public art program in Perth. In 2012 FORM’s public art consultancy team developed and implemented a number of strategies for key projects across Perth, including the St John of God Midland Public and Private Hospital, the Old Treasury Building [ 78 ]

office tower development with Mirvac and Kerry Hill architects, the redevelopment of 140William Street in partnership with Urban Art Projects for Cbus and Brookfield Place with Brookfield Multiplex and BHP Billiton.

FORM has spent much of 2012 planning for the growth of its public art program and working in close collaboration with Urban

PUBLIC ART CONSULTANCY

PUBLIC ART CONSULTANCY 01

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Art Projects and the South West Aboriginal Land and Sea Council to develop opportunities for Noongar artists to be taken through the Land.Mark.Art program. Through these partnerships, FORM has laid the foundations for a number of significant public art projects that will kick-start in 2013, including the Waterbank development with Lend Lease and Hassell architects, a new public art program for Perth

Airport, and the Perth City Link project with Leighton Properties and Mirvac.

____ 01 Violet Samson’s Wildflowers of the Pilbara, in fabrication. Photo by Rachel See, Urban Art Projects.

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Regional Community & Place Development

REGIONAL COMMUNITY AND PLACE DEVELOPMENT

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REGIONAL COMMUNITY AND PLACE DEVELOPMENT

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REGIONAL COMMUNITY AND PLACE DEVELOPMENT

Port Hedland Courthouse Gallery ____ 01 (Previous page) Participants and mentors on the P.H.otography camp in Pannawonica. Photo by Samantha Bell. ____ 02 Opening Night of Larry Mitchell: A Pilbara Project Exhibition at the Port Hedland Courthouse Gallery. Photo

by Samantha Bell. ____ 03 The launch of Larry Mitchell: A Pilbara Project Exhibition. Photo by Samantha Bell. ____ 04 Yarrunga Community (detail), ochre on canvas, Warmun.

Photo by Bill Shaylor.

The Port Hedland Courthouse Gallery is one of three gallery spaces programmed by FORM (the other two are FORM Gallery on Murray Street in Perth and ocassional exhibition space at Midland Atelier). FORM has managed the Courthouse Gallery since 2008, redeveloping the physical space and implementing exhibition, artist development and public programs that aim to enrich and illuminate the visitor’s cultural experience of the Pilbara region.

Larry Mitchell: A Pilbara Project Exhibition followed from the 2011 launch of The Pilbara Project’s inaugural exhibition, 52 Weeks On, and opened on subsequent nights in Perth and Port Hedland in February – the 16th in Perth and the 17th in Port Hedland.

For this exhibition, Larry Mitchell devised a new body of 57 paintings that sought to capture the diverse and varied nuances of the Pilbara. The paintings mirror the dichotomies of this expansive region – from sweeping, wall-sized triptychs of foreboding industrial and natural landscapes to small canvases displaying the fine detail of plants, shrubs and the many surfaces the artist walked across.

Following the exhibition opening night in Port Hedland, Larry hosted a painting workshop for regionallybased artists. The workshop was part of through FORM’s Visual Arts Development Program run through the Courthouse Gallery.

This exhibition is also discussed in The Pilbara Project, page 24.

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The Courthouse opened three exhibitions on 20 April: Let the Country Come In was an exhibition created by 29 artists from Greenough Regional Prison and curated by FORM. The prison, on Western Australia’s Mid West coast, is an unlikely home to this gifted group of Aboriginal artists, who hail from communities all over Western Australia, as well as artists from South Australia and the Northern Territory.

The original exhibition was launched at the Geraldton Regional Art Gallery in September 2011. The exhibition at the Port Hedland Courthouse Gallery in April 2012 included works from the original exhibition and new work developed through the ongoing professional arts development program ‘Strong from the Inside Out’. This program was devised by FORM and arts educator Helen Ansell in partnership with the Department of Corrective Services and ran from 2009.

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The program is a response to research showing that prison arts programs increase the likelihood of prisoner rehabilitation and enhance self-esteem. Leading up to the exhibition an ongoing workshop program was facilitated

by Helen Ansell. The skills development workshops aim to provide training in practical arts production while fostering the artists’ connection to Country through painting. By painting they ensure this connection is kept strong from the inside, enabling their Country to come to them even when they cannot be in their Country.

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Artwork from Let the Country Come In was acquired by Geraldton Regional Art Gallery collection during the exhibition’s inaugural showing in 2011. [ 83 ]

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Opening on the same night, Port Hedland by Future Shelter was the product of Perth-based design studio Future Shelter.

Applying their creative eye to the industryscapes of Port Hedland, the Studio created a series of limited-edition prints in their highly detailed, whimsical graphic design style. Future Shelter designers Adam Coffey and Jane King travelled to Port Hedland in March 2012 to study the movement, construction and operation of the large-scale machinery that dominates the town’s skyline to produce this body of work, which details the structures that make up the town’s industry.

The third exhibition, SS Koombana: Oceans and Secrets, comprised a collection of jewellery and objects

by Western Australian artist Helena Bogucki. The exhibition explored the myths and legends surrounding the disappearance of the SS

Koombana, a steam ship that sunk of the coast of Port Hedland 100 years ago.

The SS Koombana represented a microcosm of local regional culture at the time, with people from the then-dominant industries such as pearling, agriculture and the church aboard the ship when it disappeared, in hurricane conditions in 1912. Bogucki’s exhibition works are mementos that remember the individuals who lost their lives in the tragic events, while offering a sensitive examination of local society during the era via fragmented records, memories and objects that survived the past.

Bogucki spent time researching the historical content for this exhibition at the Port Hedland Library, and liaised with the Port Hedland Historical Society. The research material gathered included newspaper [ 84 ]

reports, documents from the Adelaide Steamship company that owned the SS Koombana, and photographs. An intriguing sentence in one publication reported that a picture of ship hanging on a wall in Marble Bar turned upside down following news of the sinking. The romantic rumour of a cursed black pearl on board also provided a rich source of inspiration. These tantalising urban legends were all integrated into the final exhibition.

On 22 June the Courthouse Gallery launched two exhibitions, both of new work by young and emerging regional visual artists: After featuring in the 2010 and 2011 Hedland Art Awards (where she won the 2012 award for Best Work by an Artist Under 25) FORM approached Karratha artist Hayley Welsh with an invitation to create a solo exhibition for the Port Hedland Courthouse Gallery.

REGIONAL COMMUNITY AND PLACE DEVELOPMENT

For her exhibition, titled Nest Making, Welsh created a collection of imaginative and whimsical illustrations and three-dimensional works on found objects including disused timber, shells and lumber offcuts. Welsh’s collection of works focused on the life she and others around her created through their migration to the North West.

Welsh hosted an exhibition walkthrough following the opening night for 30 community members and the Marble Bar Primary School also visited specifically to view the exhibition.

Thailand-born, Carnavon-based Warayute Bannatee also came to FORM’s attention through the Hedland Art Awards, in which

he participated in 2010 and 2011 and was voted 2010 People’s Choice. For his solo exhibition In Bloom, Bannatee transformed the Courthouse Gallery into an ethereal garden with his collection of oil paintings - delicate, lush roses depicted up-close in intricate detail.

August welcomed the 2012 Hedland Art Awards, which again celebrated the cultural growth in the region by inviting artists from the Pilbara, Kimberley, MidWest and Gascoyne to enter. The Courthouse received 162 entries and after pre-selection exhibited 96 artworks.

2012 the total prize money reached $65,000 across nine

____ 01 Port by Future Shelter developed for the exhibition Port Hedland. ____ 02 Shipwrecked Rings by Helena Bogucki for her exhibition SS Koombana: Oceans and Secrets.

Photo by Bill Shaylor.

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Award categories, making it one of the country’s most generous regional art awards. With this the competitiveness of the Awards and the initial selection and judging process were also raised. FORM continued to parallel its regional Visual Arts Development Program with the Hedland Art Awards in 2012, bringing professional artists to Port Hedland to mentor groups of local artists in preparation for the Awards.

The 2012 Hedland Art Awards opened on Friday 24 August with crowds of around 700 attending the opening night at the Courthouse Gallery as the Awards were announced. FORM secured sponsorship to accommodate visiting artists from Aboriginal art centres for a second year. This saw artists from Yarliyil Art Centre in Halls Creek attend the opening night and the markets over the weekend. Artists from Roebourne Art Group and Spinifex Hill Artists also attended the Awards opening along with non-Indigenous artists from across the Pilbara region.

The opening night was followed by the traditional Saturday morning judges’ walk-through, which gave judges Marcus Canning, Dr. Darren Jorgensen, Tim Acker and Carly Davenport-Acker the opportunity to shed light on their decisions and offer feedback to artists exhibiting in the Awards. This session was attended by 60 artists and community members.

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____ 01 Martuwarra by Sonia Kurarra, acrylic on canvas, Mangkja Arts.

Winner Most Outstanding Work at 2012 Hedland Art Awards. Photo courtesy of Mangkaja Arts.

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HEDLAND ART AWARDS 162 ENTRIES

HEDLAND ART AWARDS WINNER $20,000 Most Outstanding Work: Sonia Kurarra, from Mangkaja Arts in Fitzroy Crossing, for Martuwarra.

162 entries received

$15,000 Best Work by an Aboriginal Artist: Biddy Timbinah from Yarliyil Art Centre in Halls Creek, for When I Walked Long Way with my Family

96 ARTWORKS

$15,000 Best Work by a Non-Aboriginal Artist: Diana Boyd from South Hedland, for The Wide Brown Land for Me

96 artworks exhibited (after selection process)

96 ARTISTS 96 WA regional artists exhibited

36 ABORIGINAL ARTISTS 38 Aboriginal artists exhibited School excursions to view the exhibition from Strelley Remote School and Hedland Senior High School

700 ATTENDEES

$5,000 Kathy Donnelly Judge’s Award: Leonie Cannon from Karratha, for Tyre Tracks on Salt Flats $1,500 Best Work in a Medium Other Than Painting: Naomi Stanitzki from South Hedland, for Cameulus Ddromedarius $1,500 Best Three-Dimensional Work: Marianne Penberthy from Geraldton, for Containment $1,000 Best Work for and Artist Under 25 Years Old: Callum Batilana, from Geraldton, for Untitled $500 Encouragement Award: Andy Gray, from Karratha, for Blind Bend $500 People’s Choice Award: Diana Boyd from South Hedland, for The Wide Brown Land for Me

700 attended opening night

2012 Hedland Art Award Judges

60 ARTISTS

MARCUS CANNING, CEO ARTRAGE, Director FRINGE WORLD, Rooftop Movies and The Bakery.

60 artists and community members attended the Judge’s Walk Through

TIM ACKER, Aboriginal art and enterprise expert, and Research Leader for the CRC-REP Aboriginal and Torres Strait Islander Art Economies project.

CARLY DAVENPORT ACKER, Aboriginal cultural curator, producer and project manager; founder of InterMedia Productions.

ASSISTANT PROFESSOR DR. DARREN JORGENSEN, University of Western Australia, School Of Architecture, Landscape and Visual Arts.

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WEST END MARKETS

____ 01 Erth’s Dinosaur Petting Zoo entertains the crowd at the West End Markets, Port Hedland. Photo

by Samantha Bell.

The four West End Markets held in 2012 saw stallholder participation increase to 45-50 stallholders (compared to 30-40 in 2011), with a record 3,500-5,000 community members and visitors attending each event.

Each Market in 2012 followed an exhibition opening at the Courthouse Gallery (April, June, August and October), thus creating a weekend of activities within the West End Cultural Precinct. Events staged during these times featured a range of talented local musicians and high-quality performers from cross Western Australia and the eastern states.

The Markets, Port Hedland’s only makers’ market, enable a stronger cultural footprint for the region

and enhance opportunities for emerging and established local micro businesses. Each event brings together artists, crafts people, provedores, and food and plant growers to sell high quality produce, bringing it directly from the maker or grower to the customer.

Port Hedland West End Markets in 2012 Record stallholder numbers, between 45 and 50 at each market Record attendance numbers, between 3,500 and 5,000 at each market

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Pilbara regional visual arts mentors in 2012 Bill Shaylor, photography Carolyn Gorman, jewellery and market/branding Carrie McDowell, jewellery Christine Hingston, pastel drawing David Dare Parker, photojournalism Helena Bogucki, jewellery and mixed media Isobel Macauley, design - founder of organic label pinchandspoon John Elliott, photography Larry Mitchell, oil painting Michael Fletcher, videography Naomi Stanitzki, print making Sara Barnes, weaving and woven forms

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West End Market Stallholder Professional Development

____ 01 West End Market Stallholder professional development workshop.

Photo by Samantha Bell.

In 2012 FORM’s market programming extended to a dedicated ongoing professional development program for stallholders and interested micro businesses. The workshops allowed stallholders to work alongside some of the State’s leading designers and creative small businesses.

The Stallholder Development Workshops aim to provide stallholders and other local micro businesses that may not be involved with the West End Markets opportunities for creative and skills-based development that allow them to build technical skills, and develop existing and new products. This in turn enables participants to further their brand and gain marketing and merchandising knowledge.

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Over three weekends participants had the opportunity to work alongside talented jewellery and object designers Helena Bogucki, Carolyn Gorman and Carrie McDowell, and textile and fashion designer Isobel Macaulay. Later Bogucki and Macauley returned to work with the stallholders on an ongoing basis.

The workshops covered topics such as building technical skills in a number of crafts, stall design and promotion, product development, marketing and general market know-how.

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Regional Visual Arts Development Program

____ 01 Participants of the Artist Camp at De Grey Station. Photo by Samantha Bell.

FORM’s Visual Arts Development Program, run through the Port Hedland Courthouse Gallery, is designed in a format that brings practising local artists together in a series of skills workshops, each one led by an established Western Australian artist. The workshops are run in the lead up to the Hedland Art Awards to enhance technical skills and ability and to introduce local artists to new mediums and techniques. Select workshops are delivered as artist camps, which capitalise on the stunning natural environment of the region and provide an ideal space for artists to think more creatively and innovatively about their work.

In February, Western Australian visual artist Larry Mitchell hosted a specialised painting workshop for 18 local artists following the opening of his exhibition Larry Mitchell: A Pilbara Project Exhibition at the Courthouse [ 90 ]

Gallery. Mitchell focused on the way participants perceive and respond to landscape via the medium of oil paint, highlighting its exibility as a medium and the range of possible applications and techniques oils encompass.

In June the second Artist Camp was staged at De Grey Station in the west Pilbara. Running over three full days and encompassing nine separate workshop sessions, the Camp was led by Western Australian visual artists Christine Hingston, who taught pastel drawing; Sara Barnes, who led a workshop in weaving and woven forms; and Naomi Stanitzki, who worked in print making. Twentyfour developing artists from across the Pilbara and Perth attended and explored the Station site to create a range of artworks while comparing ideas. The Camp attracted artists from Port and South Hedland, Tom Price, Karratha and Dampier.

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p.h.otography

____ 01 Photograph by P.H.otography participant from the Robe River Rodeo. Photo by Seide Ramadani.

2012 saw FORM’s P.H.otography program (the title references Port Hedland as the original basis for the program) returned for its fourth season. Over two weekends, 23 participants immersed themselves in the art of photography in workshops designed for intermediate to advanced participants. The first workshop took place at the Port Hedland Courthouse Gallery on September 1 and 2 and involved photography shoots around the town at the skate parks, the local go-kart track, as well as portrait sittings around the Courthouse Gallery. The second workshop was a weekend camp that took place at the Robe River Rodeo at Pannawonica from September 7 to 9. This camp offered the participants of the photographic weekend a chance to engage with the community and capture its essence.

Renowned photographers John Elliott and Bill Shaylor,

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photojournalist David Dare Parker and videographer Michael Fletcher led the P.H.otography workshops. These mentors encouraged participants to find their own vision, identifying their own way of photographing people, landscape and live-action, and creating narrative to tell a story through photography. Both workshops featured hands on technical and creative practice as well as ‘in-the-field’ experience.

An exhibition of the rodeo photographs will be shown at the Port Hedland Courthouse Gallery in 2013.

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Regional Infrastructure Projects

Throughout 2012, FORM continued to fundraise for, plan and deliver a number of infrastructure projects in Port Hedland aimed at achieving critical priorities for cultural amenity, economic diversification, tourism enhancement, and supporting Aboriginal opportunities in the town.

In December FORM completed the redevelopment of Wedge Street, Port Hedland’s historic main street. Wedge Street was transformed through the addition of quality paving and street furnishings, planting of mature trees and garden beds and through the installation of new feature shade canopies designed by local Aboriginal artist Ann Sibosado (see page 74). Wedge Street is now an inviting street that local businesses, the broader community and tourists will be able to enjoy for many years to come. The Wedge Street Enhancement Project was facilitated by FORM and made possible through funding from Royalties for Regions, Pilbara Cities community fund and BHP Billiton.

____ 01 Ann Sibosado’s, Seeds of Life, shade canopy in the newly refurbished Wedge Street. Photo

by Barry Winterborne.

In late 2012 FORM was contracted by the Town of Port Hedland to redevelop the Port Hedland Visitors Centre, on Wedge Street. FORM developed a new management plan for the Visitor Centre along with a collection of new retail, mapping and tourism product which will be showcased in the refurbished Centre when it reopens. During the year FORM also completed the new design for the interior of the facility and engaged a builder so that early in 2013 work can commence on the refurbishment of the space, ready for the Visitor Centre relaunch in April 2013.

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2012 saw FORM take a big step forward in the development of a new art studio facility in South Hedland by raising nearly $2 million from BHP Billiton and securing a block of land from the Department of Regional Lands and Development. The new Spinifex Hill Art Studio, which will house the Spinifex Hill Artists as well as other artists from the region on a project-by-project basis, will include a two-bedroom accommodation unit along with extensive gardens and shaded outdoor areas for painting, communal eating and occasional community events.

The Spinifex Hill Art Studio will become a purpose-built space that will enable local artists and artists from surrounding areas to continue to develop their skills and creative enterprise in a safe, stable environment, seven days a week. The new Art Studio will provide secure and professional workspaces for artists, addressing issues of quality control, OH&S and operational effectiveness.

The Spinifex Hill Art Studio is designed by TR Homes and landscape architects RPS. A Development Approval application was lodged in December, with work expected to start on site by in the first half of 2013.

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Spinifex Hill Artists commenting on the potential of the new Spinifex Hill Art Studio

In 2012 FORM continued to facilitate the ongoing development of South Hedland-based arts collective the Spinifex Hill Artists (SHA), within which a range of workshops and activities provided a diverse array of skills and opportunities. Artist outcomes included exhibitions, sales, marketing and a publication.

However, the emphasis of FORM’s work with SHA lies within building the skills, confidence and knowledge of this groups of emerging artists, and opening up pathways to professional arts practice and potential selfemployment as an artist.

____ 01 Rendering of the plans for the Spinifex Hill Artists Studio.

Courtesy of RPS.

SHA supports its members to develop new skills and/or relearn old skills. Through this the artists are able to develop confidence and accomplish personal goals, with many benefits to their overall wellbeing. Mentor artist Sara Barnes conducts regular week-

SPINIFEX HILL ARTISTS ‘For us this will mean a space to paint of our own, a place we feel comfortable, better facilities for our elderly artists and more freedom to open all week – allowing more artists and community members to come and join us.’

long workshops with the artists, who also have the opportunity to see and experiment with new artforms through other workshop opportunities. These include participation in the 2012 Artist Camp (see Regional Visual Arts Development) and several trips to country for inspiration. As a result of the workshops, several SHA members have begun to produce woven forms in addition to painting (the group’s primary artform).

As cited in Regional Infrastructure Projects, in 2012 FORM secured land and funding in South Hedland for the construction of a multidisciplinary art studio, which will become home to the Spinifex Hill Artists, as well as other local Aboriginal and non-Aboriginal artists who wish to practice their art on a daily basis. FORM also secured funding for a bus through Lotterywest; transport of the

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artists to and from the studio and field trips into the region will now become easier, as several of the artists do not have transport.

This year SHA has also taken part in Land.Mark.Art, a program developed by FORM and Urban Art Projects (UAP) in 2010 aimed at bringing better economic, creative and cultural opportunities to Aboriginal artists in WA (see page 72). Following a series of Land.Mark.Art workshops, the artists were successful in securing a tender from the Town of Port Hedland to create an interactive playscape for the extension of Cemetery Beach Park, a popular coastal park in Port Hedland.

The three chosen artworks were developed by SHA through workshops with UAP and FORM and they reflect and tell the artists’ stories from growing up in the area while working to the brief of creating a vibrant playscape for children to enjoy at the park.

Spinifex Hill Artists also undertake regular outreach to key Aboriginal organisations and as a result, emerging artists from the Warralong and Strelley communities have begun to participate in SHA activities to further develop their professional arts practice. SHA has also worked to build relationships between artists and other agencies in the Hedland and wider region through participation at cultural events such as the NAIDOC Week and Nindji Nindji Festivals. The group has also engaged community groups and services such as Mothers Against Drugs and Home and Community Care, as well as students from Hedland Senior High School and Tom Price Senior High School.

SPINIFEX HILL ARTISTS ACHIEVEMENTS IN 2012 High-profile public art opportunities gained through the Land.Mark.

Art model at Cemetery Beach Park: Wedge Street in Port Hedland 5 artists selected to exhibit in the Hedland Art Awards 6 artists selected to exhibit in the Cossack Art Awards Funding secured for a dedicated studio bus through Lotterywest 8 artist-run market stalls, including 4 at the West End Markets Artist Irene Coffin’s artwork chosen to feature on the ‘skin’ of the new Telethon Speech and Hearing Ear Bus, which services communities across the North and East Pilbara Artwork purchased and commissioned by Landcorp to provide designs for shade structures in the new South Hedland town centre Artist Ann Sibosado selected to exhibit in the 2013 Revealed showcase in Perth Artist Winnie Sampi’s artwork chosen to represent the University of Western Australia’s Aboriginal Business and Enterprise Conference (November 2012): the artwork featured on the cover of the Conference publication and website with links to information about the artist and Spinifex Hill Artists Artist Sonya Edney, who lives part-time in Port Hedland and Geraldton, was invited to exhibit in the Good Heart Aboriginal Exhibition and an art award in Derby, in which she won the People’s Choice Award Artists host an open studio day held for NAIDOC Week attracting nearly 100 people Artists held a painting and storytelling session at the Courthouse Gallery for the Radiance of the Sea cruise ship in Port Hedland.

Around 500 tourists from the ship visited the artists Art workshops held with SHA mentoring students from Hedland Senior High School and youth from the Department of Corrective Services Consistent coverage by local media including the North West Telegraph and Pilbara Echo 02

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DISCOVER THE PILBARA

____ 01 In My Garden by Les Walking.

As part of FORM’s ongoing investment into, and activation of, the Pilbara community, the organisation produced an independent social media community website at www. discoverthepilbara.com. The website is designed to create a virtual community to ‘activate’ the Pilbara in an online forum, reflecting an increasingly vibrant community and the many ways by which the Pilbara can be known and understood by residents and visitors alike. The site is filled with [ 96 ]

user-generated content, and thus it is populated and directed by those who contribute.

Since launching at the Hedland Art Awards weekend in August, Discover the Pilbara has already catered to hundreds of users who populate and access the site to share and learn all the wonders and secret treasures the Pilbara has to offer.

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Research & Creative Capital

RESEARCH & CREATIVE CAPITAL

____ 01 Audience listen to the presentation by Tim Jones at His Majesty’s Theatre. Photo by Jarrad Seng.

Creative Capital is FORM’s longrunning program of speakers, publications, residencies and activities designed to generate discussion, debate and action with regards to shaping our city and state through creativity and innovation. It advocates for greater investment in culture and creativity as an essential component to building a vital and vibrant city and community. The program began in 2005 and has been influential in stimulating dialogue in Perth and providing a different and challenging lens by which to critique the city.

The program has been at the fore of the changing city agenda and generated significant action in relation to investment in the arts, creative industry, laneway activation, place making and public art. Research has been completed regarding Perth’s ability to attract and retain the young, mobile and talented (Comparative Capitals, 2008) and to compare the City’s performance against other energy and resource hubs such as Houston, Texas and Aberdeen, Scotland (Energy Cities, 2010).

FORM rebooted the Creative Capital speaker series in early 2012 with an initiative by UK organisation International Creative Entrepreneurs that saw FORM host two Scottish creative entrepreneurs, Tiernan Kelly and Sarah Tierney (please refer to page 22 for the outcomes of their visit).

FORM also facilitated a visit

by Tim Jones, President and CEO of Artscape Toronto and commenced of a review of Comparative Capitals in light of the release of the 2011 ABS Census of Population and Housing.

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RESEARCH & CREATIVE CAPITAL

Urban Transformations, Creative Places

In March 2012, FORM brought an international leader in creative place making and creative cities to Perth as part of rebooting the Creative Capital series. Tim Jones, President and CEO of Artscape, is an expert in transforming spaces and communities through creative activity, and winner of the 2010 Global City Award for the Canadian Urban Institute’s Urban Leadership Awards.

FORM brought Jones to Perth to host a series of public and private events with the aim of generating understanding of how to grow and support creative communities, and advocating for the value of creativity and culture to liveable and sustainable places.

____ 01 Artscape CEO Tim Jones presents at His Majesty’s Theatre, Perth.

Photo by Jarrad Seng.

A free public event was held in which Tim presented an overview of creative place-making principals

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and case studies to a booked-out audience. Registration responses so far exceeded expectations that a larger venue was sought, and the event was eventually hosted at His Majesty’s Theatre with more than 500 in attendance.

FORM also arranged two boardroom lunch presentation events with key representatives from the cultural sector, architecture, urban development, property development, government and institutions.

These boardroom dialogues are critical for influencing the thinking of decision-makers and enabling international expertise to be leveraged as key development projects in Western Australia are getting underway.

RESEARCH & CREATIVE CAPITAL

Comparative Capital revised research

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While he was in Perth, FORM arranged for Jones to speak on the popular ABC Mornings with Geoff Hutchison radio program to promote the value of creativity and culture in place development.

FORM’s Creative Capital events with Tim Jones were highly successful with strong public, business and cultural sector response, very positive feedback, and subsequent influence on the approaches and outcomes for development projects in Perth.

In late 2012 FORM commenced a review of the 2008 Comparative Capitals research that considered how Perth fared against the other Australian cities in attracting talent, supporting creativity and building social capital. The review analysed the 2011 Census of Population and Housing data and other key indicators of city vitality. It intended to build an understanding of how Australian Cities have changed, how they have been impacted by the Global Financial Crisis and whether any clear trends have emerged since the 2006 data was released.

The preliminary research has reinforced Perth’s significant population increase (up 19.6% over five years) and the exponential growth of the mining and construction as key industries of employment. Perth also moved higher in the Mercer cost of living index, jumping 75 places to 19th position and overtaking cities such as Los Angeles, London and Paris. The research will inform programming for 2013 and into the future.

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ADDITIONAL PROJECTS

ADDITIONAL PROJECTS

____ 01 Penny Forlano’s Endless Quilt (detail). Photo courtesy of Penny Forlano.

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ADDITIONAL PROJECTS

An Interior Affair: A State of Becoming Interior Design Educators Association (IDEA) partnered with FORM to present An Interior Affair: A State of Becoming as part of the 2012 IDEA Symposium in Perth.

Drawing from creative industries in Perth and internationally, this exhibition positioned the importance of creative practice as research. Through various media, the exhibition works explored ways in which the constructed environment is or could be experienced. The exhibition opened 6 September and ran for one month.

An Interior Affair: A State of Becoming 23 artists 4 curators 4 institutions 5 countries Trish Bould, United Kingdom Lynn Churchill, Australia Lorella Di Cintio, Canada Joel Day, Australia Karen Ann Donnachie, Australia Penelope Forlano, Australia Stuart Foster, New Zealand Anthony Fryatt, Australia Rachel Hurst, Australia Roger Kemp, Australia

An Interior Affair explored ideas about people, technologies and occupying place, using light, interactivity, sculpture, social space and participatory creative practice. This group exhibition featured works by 23 artists, whom together conceived the space of the ‘interior’ as in a permanent state of flux and becoming. The exhibition was research-based and explored the interaction between the interior and the researcher – exemplifying the importance of creativity in the development and expression of critical thought.

The exhibition was curated by Jane Lawrence (University of South Australia), Marina Lommerse (Curtin University), Stuart Foster (Massey University, New Zealand) and Sven Mezhoud (Monash University).

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Jane Lawrence, Australia Marina Lommerse, Australia Sarah Breen Lovett, Australia Natalie McLeod, New Zealand Andrea Mina, Australia Belinda Mitchell, United Kingdom Antony Nevin, New Zealand Jonsara Ruth, United States Dianne Smith, Australia Igor Siddiqui, United States Nancy Spanbroek, Australia Reena Tiwari, Australia Amanda Yates, New Zealand

ADDITIONAL PROJECTS

Deserts & Rivers

Opening 2 November, Deserts & Rivers was an exhibition that explored Country through the eyes of 42 Aboriginal artists from the Great Sandy, Little Sandy and Gibson Deserts and the Country around Turkey Creek, Sturt Creek and the Fitzroy River in the east and central Kimberley.

The Deserts & Rivers exhibition resulted in Nora Wompi’s painting Kunutwarritji Ngurra being acquired by national collection Art Bank.

Featuring artworks from Mangkaja Arts Resource Agency, Martumili Artists, Yarliyil Art Centre, Tjanpi Desert Weavers, Warmun Art Centre and Yulparija artists at Short Street Gallery, the exhibition aimed to promote opportunities for Aboriginal economic development through cultural and artistic expression.

____ 01 Larta, acrylic on canvas by Jakayu Biljabu, Martumili Artists. Photo courtesy Martumili Artists. ____ 02 Opening night of Deserts and Rivers at FORM Gallery. Photo by Matt Biocich. ____ 03 Tjulpu Urutja (water bird), raffia, desert grasses, wool and wire by Sheena Dodd. Photo courtesy of Tjanpi Desert Weavers.

Deserts & Rivers covered a vast region of Western Australia’s northern landscape, showcasing a range of culturally and stylistically diverse works, which reflect the strong interconnections between

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Aboriginal cultural groups across a broad area.

FORM continues to support and promote Aboriginal art centres operating in regional communities.

Art centres are essential to the economic independence of Aboriginal communities and culture: they provide jobs, income generation, cultural maintenance activities, new skills development and the recording of cultural and social materials for future generations.

Through exhibitions like Deserts & Rivers FORM encourages investment into artwork from these art centres, thus encouraging people to directly support theses artist by purchasing work from these art centres and ensuring the sustainability of these communities and community facilities.

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ADDITIONAL PROJECTS

CONTRIBUTING ARTISTS Gordon Barney Jakayu Biljabu Jan Billycan Stan Brumby Wawiriya Burton Sade Carrington Isaac Cherel Anne Dixon Sheena Dodd Ivy Drill Benita Everett Rochelle Ferguson Nyurpayi Giles Nanana Jackson Eileen Juli Mabel Juli Ilawanti Ken Sonia Kurarra Manyitjanu Lennon Niningka Lewis Evelyn Malgil Mary Meribida Kuntjiriya Mick Donald Moko Zenneic Mumberay Beryline Mung Angkaliya Nelson Nora Nungabar Roseleen Park Nancy Patterson Eunice Porter Tjigila Nada Rawlins Dada Samson Jukuja Dolly Snell Phyllis Thomas Biddy Timbinah Lisa Uhl Bugai Whyoulter Nora Wompi Margaret Yai Yai Amy Yangki Yaritji Young

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ADDITIONAL PROJECTS

Jimmy Poland mentorship and cultural maintenance project ____ 01 Jimmy Poland working in the Pattern Shop at Midland Atelier.

Photo by Bill Shaylor. ____ 02 Jimmy Poland with his sketches, models and works in progress.

Photo by Helena Bogucki. ____ 03 Jimmy Poland’s sketches and models. Photo by Helen Bogucki. ____ 04 Jimmy Poland’s sketches and models. Photo by Helen Bogucki.

FORM, with facilitator and mentor Helena Bogucki, has been working with Shark Bay Aboriginal artist Jimmy Poland since 2011 in a professional development and cultural maintenance project. 2012 saw the project expand to largerscale works in addition to the continued technical development of Jimmy’s intricate pearl shell jewellery and boab nut carvings.

The program is structured around alternating workshops at Shark Bay and at Midland Atelier. Working at Midland Atelier alongside other makers and designers has provided a valuable network for Jimmy and his practice. Observing the development of commissions and public artworks during this phase of the mentorship program provided an opportunity to explore scale, materials and

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concept development. These observations aided in the preservation of Jimmy’s stories and the interpretation of his Malgana culture. In addition, observing the making process with industry professionals whilst at Midland Atelier has guided Jimmy in the creation of new work for his exhibition, which is scheduled for mid-2013 at Shark Bay World Heritage Centre, with a potential regional tour.

In April, a series of artist-inresidence days at the Shark Bay World Heritage Centre introduced the mentorship project to the Shark Bay community and visitors to the region. During this period a temporary studio was in place at the centre and allowed visitors to directly engage with the narrative 01 aspects of Jimmy’s work and his

ADDITIONAL PROJECTS

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01

connection to Country. A small showcase of the work created to date was exhibited during the residency alongside the working area of the studio.

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The ďŹ nal stages of this program in 2013 will focus on the creation of exhibition work and a catalogue to document the process.

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ADDITIONAL PROJECTS

01

Ngarluma Tabi Project

____ 01 Jill Churnside and Maggie Prewitt at work in the UAP studios in Brisbane. Photo by Beth Campbell. ____ 02 Jill Churnside holding bush medicine in Ngarluma Country.

Photo by Sharmila Wood.

FORM began the Ngarluma Tabi Project - an initiative that spins a multi-dimensional narrative around the tabi song tradition of Ngarluma people - in June. The Ngarluma Tabi Project centres on the intergenerational transmission of culture, language and Ngarluma history through engagement with a wide range of the Ngarluma community, as well as historical resources. Ongoing into 2013, the Project involves a period of development engaging Ngarluma artists, filmmakers and elders and will culminate in an exhibition.

Churnside paints stories in and around traditional Ngarluma Country, inspired by the song traditions or tabis associated with her father’s songs written in response to the Sherlock River.

As part of the first stage of the project, Roebourne artist Jill Churnside undertook a threeday workshop in August in Port Hedland with Urban Art Projects (UAP) from Brisbane, a partner on FORM’s Land.Mark.Art initiative.

The first workshop was followed by a three-day workshop that took place in the UAP studios in Brisbane in October, and focussed on the development of artworks for Jill Churnside’s exhibition in FORM Gallery 2013. For the Brisbane

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During the first workshop Churnside developed a concept for a two-dimensional screen, imagined as a corten theatre cladding of four metres. This was part of a process conceived to invoke design thinking and the practical application of her twodimensional works into sculptures.

ADDITIONAL PROJECTS

workshop, Churnside worked in collaboration with her sister Maggie Prewett. They explored the tabi songs and stories of their father, investigating the form of the anthill which is a distinctive characteristic in Australian landscape and prominent in the Pilbara and Kimberly where both sisters reside. The workshop began with an open discussion on Churnside and Prewett’s exhibition concepts, which were then deciphered through a series of drawings and organic clay models. Throughout the three days, drawing was the primary technique for refining and defining patterns and forms. Through the use of clay, polystyrene and plasticine the artists investigated shape, scale and surface treatments.

By combining elements from their fathers’ songs, through literal and abstract interpretation, and the shape of the anthills, Churnside and Prewett were able to create unique patterns and forms that they can now utilise and explore further for the upcoming exhibition.

Under the guidance of lead designer Daniel Clifford, Churnside and Prewett developed an understanding of developing form and shape in earthenware clay. They looked at how to create forms by pinching, coiling and slab building. They also explored techniques of pattern application such as relief carving, etching and joining, all of which they utilised throughout their form explorations. The workshops also introduced the artists to a number of varied design applications, such as pattern cut-outs, folding, the inclusion of lighting, and an array of materials. These hands-on

02

techniques leveraged the artists’ professional development through the close exploration of design and form.

The return trip to country was a three-day excursion in September through the Ngarluma country of Pyramid and Croydon Station with Ngarluma elders who belong to this country. It was the first time Ngarluma Elder Jim Fredericks had returned to Croydon Station in more than twenty years.

The elders were accompanied by a professional film crew, researcher and Ngarluma anthropologists, who recorded and photographed the journey and its stories.

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A key element of the Project is to record, preserve and curate the cultural heritage, personal histories, traditional stories and reflections of Ngarluma people, transferring the knowledge of Elders and community leaders into an accessible and lasting format.

Ngarluma elders involved in the Ngarluma Tabi Project Jeannie Churnside Jill Churnside Keith Churnside Rebecca Churnside Jim Fredericks

creative Sector Advocacy & SUPPORT

CREATIVE SECTOR ADVOCACY & SUPPORT

Membership FORM’s 2012 Membership Strategy focussed on offering additional incentives through promotions to reward our loyal members, and attract new support. These incentives, including reduced rate membership fees and giveaways were marketed in conjunction with our major exhibition and event launches, in order to maximise their impact.

FORM members also enjoyed complimentary limited edition catalogues, artist floor talks, industry events and buyers’ previews as part of the 2012 exhibitions program.

The Practitioner’s Membership, which caters to artists and makers, continued to grow throughout

2012, remaining one of the most affordable public and products liability insurance packages in Australia.

In late 2012, FORM introduced a new membership category, Friends of FORM, which was created specifically for FORM’s Pilbarabased supporters so that they could take advantage of both Port Hedland Courthouse Gallery and FORM Member benefits, including access to FORM’s archive of printed and online publications.

____ 01 ABC Drive Time radio broadcasts live from FORM Gallery. Photo by Viet Ngyuen .

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CREATIVE SECTOR ADVOCACY & SUPPORT

Marketing & Media Coverage

MEDIA ACHIEVED IN 2012 720 ABC Perth Radio ABC North west Adshel Architecture AU Art Almanac Art Monthly Artabase Artichoke Magazine Artslant Circuit Colosoul Colosoul Magazine Craft Revival Daily Pioneer Design Spotter Echo News Everguide Faster Louder FotoFreo Special Events Hindustan Times

FORM’s media strategy centres on building and maintaining strong professional relationships and networks with key media in the print, social and digital spheres. Relationships connecting media contacts with the relevant programmers/managers within FORM are leveraged through a regular output of print and online branding and program material.

This material, which includes project publications, newsletters, brochures, online campaigns, website development, and sta contribution to select panels,

events and presentations, is also distributed to a maintained database consisting of FORM members, project audiences, and other contacts such as key business, industry and government liaisons.

India Info Line Indian Express Indian Link Klimt02 Mail Today Metaphor Online Metaphor Online Midland Reporter Monocle Magazine NITV North West Telegraph NRI Press Oz Photo Review PigeonHole blog Pilbara Echo RTR FM SBS Scoop Magazine Stray Magazine Swap Art Compostery The Australian Newspaper The Hills Gazette The West Australian We Love Perth Online Weekend Notes

Winter Arts Season Wordplay X-Press Fashion Magazine X-Press Online

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01

CREATIVE SECTOR ADVOCACY & SUPPORT

Social Media Strategy and Reach

Responding to the increase in project-specific social media accounts, FORM developed and implemented a social media strategy in 2012 to effectively communicate and connect with our communities. The strategy focused on promotion and communication predominantly through Facebook, Twitter and Pinterest.

media platforms. FORM’s primary social media accounts, the FORM Facebook and Twitter streams, have increased their fan bases by over 200% since the end of 2011.

Reach for events promoted on Facebook increased by over 100%, compared to 2011.

Over 2012 FORM saw a significant increase in online interaction and audience growth across all social

____ 01 Visitors to Living Walls view Andrew Nicholls’ Goddammit!

Photo by Jarrad Seng.

CASE STUDY Social Media Case Study - Living Walls exhibition Social media was an important part of the marketing strategy for the Living Walls exhibition, which attracted the highest opening night attendance and visitation for the duration of the exhibition of all of FORM’s 2012 exhibitions. The target demographic for the exhibition corresponded with the highest user demographic on the FORM and City of Walls Facebook pages, which is over 60% of the fan base, which was a key strategy in audience-building for the project.

Living Walls marketing outcomes

t

Highest attendance at a FORM Gallery opening in 2012 Highest response to a FORM Facebook event listing in 2012

t

90% increase in visitation to the City of Walls Blog during the exhibition period

t

Average time spent on the City of Walls blog for 2012 was 20% longer than the FORM website

t

Increase in return visitation to the blog over the exhibition period

t

Over 50% increase in City of Walls Twitter followers, compared with the beginning of 2012

t

Average user engagement of the City of Walls Facebook page increased by over 150% during the exhibition period

t

Average daily total reach on Facebook increased by over 190% during the exhibition period

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CREATIVE SECTOR ADVOCACY & SUPPORT

01

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PUBLICATIONS & FILMS

PUBLICATIONS & FILMS

2012 saw FORM deliver a series of high quality publications and short films to accompany our exhibitions and programs. These included: Larry Mitchell: A Pilbara Project Exhibition was published in February to accompany the dual exhibition by this notable Western Australian artist. The 72-page full colour publications features essays

by William L Fox, Director of Art + Environment, Nevada Museum of Art, Mags Webster and Elisha Buttler.

‘Mitchell’s work, like that of 19th-century landscape painters travelling in South America, Africa and Asia, comprise a baseline visual record of a fragile environment in steep transition.

The paintings are seductive and tragic at the same time... His paintings aren’t political, but neither do they shy away from the realities. ’ – William L Fox A 32-page colour broadsheet, Divergence: Photographs from Elsewhere, was produced to accompany the Divergence exhibition program at the Midland Railway Workshops. The publication included features and interviews with photographers from the exhibition.

‘An aesthetic of displacement, of people and places wedged strangely, uncomfortably between worlds is continued in Space In-Between, Bharat Sikka’s exploration and documentation of India’s physical and material realm.

Through images of the country’s luminal urban and semiindustrial spaces, the viewer is given an insight into the

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uneasy convergence of the rural and urban; of the capitalist and industrial future, mashing up against the agrarian roots of India’s majority’ – Sharmila Wood, on Bharat Sikka A limited edition series of art cards and a curatorial broadsheet were published as an accompaniment to the Living Walls exhibition.

The collection featured 11 artworks from exhibition artists with interviews and bios. The broadsheet included three essays that focused on different aspects of artwork in the public realm.

‘Like graffiti, art interventions have also been used to embellish existing sites and works in public places. Playing on humour and ephemerality, they provoke new ways of thinking about the status quo of publically endorsed ideas and liberate audiences from stale civic thinking. Crucially, this creative democracy of ideas – whether painted, printed, constructed or written – reminds us that cities belong to and should be shaped by ordinary people, as much as by the decisions of political leaders, policy makers and urban planners.’ – Monique La Fontaine In November, FORM published the second edition of the highly popular Pilbara Project: Field Notes and Photographs. The first edition sold out in less than 12 months.

This 180-page second edition included some revised and new content as well as a message from the premier.

‘Western Australian creative and innovative initiatives such as The Pilbara Project illustrate

PUBLICATIONS & FILMS

the wealth of our cultural sector.

The project also provides a platform for cultural exchanges, collaborations and cooperation and has, in recent times engaged leading creative practitioners, building enduring people-topeople relationships.’ – Excerpt from the Message from Hon Colin Barnett MLA, Premier of Western Australia In early 2012 FORM published Port Hedland: Shaping a Cosmopolitan City as a companion strategic plant to the Port Hedland Growth Plan.

This 96-page, short run book was developed in consultation with the Port Hedland community through survey’s and workshops.

‘Port Hedland is in the exciting position of entering a phase of particular opportunity and growth, and is able to do so from a position of prosperity and with a foundation of unique strengths. As the region’s industry growth continues its trajectory, the need for skilled talent resident in the region and need for development will propel our towns rapid growth into one of the two key cities of the region.’ - Rebecca Eggleston In September FORM published the Interior Design and Interior Architecture Educators Association (IDEA) publication for the exhibition An Interior Affair: A State of Becoming. The 62-page publication feature 16 essays or pieces by the curators and artist that were involved in the exhibition.

and celebration, and even beyond the medative process of illustrating a built work to become an experience or space for exploration, interrogation, reflection and debate within its own context.’ – Fleur Watson In partnership with the Hedland Well Women’s Centre and BHP Billiton FORM developed and published the Girl’s Guide to Hedland. A personal guide to living like a lady amongst the red dirt and Spinifex of the North West. The brochure outlines some of the best sports to grab a coffee with friends, partake in some retail therapy or sip on a cocktail in Port and South Hedland.

DIVERGENCE EXHIBITION CATALOGUE

A short film by young filmmakers Naveed Farro and Louis Rodan Beatman – Living Walls was commissioned in June. It documented the making of Beastman’s feature mural in the FORM Gallery as part of the exhibition.

A second short film was made during Living Walls. Gold Lane by Chad Peacock documented the making of the Subiaco mural in Gold Lane by artists Beastman, Creepy and Numskull.

PORT HEDLAND GROWTH PLAN

Chad Peacock also produced a film called We Will Know When We Are Home, which documented the making of Creepy’s murals in the West End, Port Hedland. The film will be released early 2013 to accompany Creepy’s exhibition at the Port Hedland Courthouse Gallery.

‘At its best, an exhibition engaged with practice-based research reached beyond simple reportage, documentation

THE PILBARA PROJECT SECOND EDITION

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STRATEGIC ALIGNMENTS

Strategic Alignments

Federal Office for the Arts: National Arts and Crafts Industry Support program; Indigenous Culture Support Program; proposed Strategic Digital Industry Plan/ Digital Content Industry Action Agenda

Australian Design Alliance The Australia Council: Visual Arts Sector Plan; Cultural Engagement Framework (specifically Creative Communities, Regional Arts and the National Aboriginal and Torres Strait Islander Arts Policy); Creative Innovation Strategy Department of Innovation, Industry, Science and Research: Powering Ideas: An Innovation Agenda for the 21st Century, 2009 Department of Broadband, Communications and the Digital Economy: Australia’s Digital Economy: Future Directions Paper, 2009 Council for the Humanities, Arts and Social Sciences (CHASS): Strategic Plan 2009-2012, 2009 National Association for the Visual Arts Ltd (NAVA) Australian Craft and Design Centres (ACDC): Tipping Point: ACDC Strategy for the Future Regional Development Australia: Preliminary Pilbara Regional Plan, 2010 Department of Education, Employment and Workplace Relations: Refreshed Reconciliation Action Plan (RAP) 2009–2011: focus for July 2010 until 30 June 2011, 2010

State Department of Culture and the Arts: Strategic Directions; Strategic Plan 2010-2014 Department of Regional Development and Lands: Royalties for Regions (particularly Pilbara Cities and SuperTowns, which are funded through Royalties for Regions) Department of Planning: draft Pilbara Planning and Infrastructure Framework; State Planning Strategy Draft Background

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Paper: Shaping 2050 – Planning for Social Infrastructure; Outer Metropolitan Perth and Peel Sub-Regional Strategy (Draft), 2010 Midland Redevelopment Authority: Strategic Plan 2010 – 2015, 2010 Department of Commerce/Department of Industry and Resources: WA – A Connected Community, State Communications Policy, 2004 Western Australian Planning Commission and Department of Planning: Directions 2031 and Beyond, 2010 Department of Training and Workforce Development: Skilling WA - A Workforce Development Plan for Western Australia, 2010; Training Together - Working Together, Aboriginal Workforce Development Strategy, 2010 City of Swan: Strategic Plan 2008-2012, 2008; Economic Vision and Strategy, 2009; Midland Place Plan 2010-2012, 2010 Eastern Metropolitan Regional Council: Regional Economic Development Strategy 2010-2015, 2010 Department of Communities: Strategic Plan for 2008-2013, 2008 Department of Indigenous Affairs: Strategic Plan, 2010-2012, 2010 Department of Corrective Services: Strategic Plan 2008-2010, 2010 LandCorp and Shire of Roebourne: Karratha City of the North Volume 1 – Implementation Plan, 2010; Karratha City of The North Volume 2 - City Growth Plan, 2010; Karratha City of The North Volume 3 - City Centre MasterPlan, 2010 Shire of Roebourne: Shire of Roebourne Final Strategic Plan 2009-2013, 2009 Shire of Roebourne: Karratha 2020 Vision and Community Plan, Shire of Roebourne, 2009 Shire of Roebourne: Creative Community: Creative Action, The Shire of Roebourne 2008-2013 of Creative Community Culture Plan, 2008 Town of Port Hedland: Port and South Hedland, Heading Forward - Town of Port Hedland Strategic Plan 2010-2015

BOARD REPORT

Board Members Report For The Year Ending 31 December 2011 The Board Members present their report on the incorporated association for the financial year ended 31 December 2012.

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

BOARD MEMBER

EXPERTISE

OFFICE

Tania Hudson Principal Words Communications

Communications and Branding

Chairperson (Appointed to Chair October 2011)

Lynda Dorrington Executive Director FORM

Business & Marketing

Ex-Officio (Appointed November 2000)

Jarod Stone Chief Operations Officer Warburton Group

Corporate Financial Advisory Consultant

Treasurer (Appointed June 2009)

Elisha Buttler Curator/Writer FORM

Cultural strategy, artistic planning, editorial management and communications

Secretary of the Board (Appointed August 2011)

Adam Zorzi Director Australian Development Capital

Property Investment

Board Member (Appointed June 2009)

Morgan Solomon BA (Hons) LLB Partner Bowen Buchbinder Vilensky Lawyers

Legal

Board Member (Appointed May 2007)

Derry Simpson Head of Planning 303

Communications Strategy

Board Member (Appointed June 2009)

Chris Maher Independent

Architect

Board Member (Appointed 2009)

Peter Lee Director HASSELL

Architecture, design and place activation

Board Member (Appointed August 2011)

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NOTES

Notes

Principal Activities The principal activities of the entity during the financial year were: - Perth & Midland Atelier: Creative Engagement - Regional Artistic Capacity - Aboriginal Design & Artistic Development There were no significant changes in the nature of the principal activities during the financial year..

Operating Results The surplus for the year amounted to $13,184.

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

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

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

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

Proceedings on Behalf of the Association No person has applied for leave of Court to bring proceedings to which the association is a party for the purpose of taking responsibility on behalf of the association for all or any part of those proceedings.

The association was not a party to any such proceedings during the year.

Indemnifying Board Members FORM’s Association Liability insurance include coverage of Board Members during the 2012 financial year. No indemnities have been given during or since the end of the financial year for any person who is or has been a

NOTES

Board Member or auditor of the association.

Significant Events after the Balance Date No matters or circumstance have arisen since balance date which significantly affected or may affect the operations of the association, the results of those operations or the state of affairs of the association in the financial years subsequent to the year ended 31 December 2012.

Likely Developments and Expected Results The continuing success of FORM in building creative capacity within regional and urban Western Australia is dependent upon grant income from the Department for Culture and the Arts, the Australian Council for the Arts and the Western Australian State Government as this core funding provides a stable foundation to employ staff on an ongoing basis.

The Board Members do not foresee any major changes in the direction of the association which will significantly impact on the entity not otherwise dealt with in this report.

Annual Financial Statements The 2012 Annual Financial Statements are contained in a separate document and are available upon request.

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CREATIVES ENGAGED IN 2012

Creatives engaged in 2012

Tim Acker, photographer and Aboriginal enterprise expert, Western Australia Chandan Ahura, photographer, India Amok Island, artist, Australia Warayute Bannatee, artist, Western Australia Sara Barnes, weaving and woven forms, Western Australia Gordon Barney, artist, Western Australia Beastman, street artist, New South Wales Nigel Bennet, photographer, Italy/United Kingdom Morika Biljabu, photographer and filmmaker, Western Australia Jakayu Biljabu, artist, Western Australia Jan Billycan, artist, Western Australia Helena Bogucki, jeweller, artist, Western Australia Ellen Bornkessel, photographer, Germany Sara Jane Boyers, photographer, United States of America Jessie Boylan, photographer, Australia Helen Britton, jeweler and artist, Germany Stan Brumby, artist, Western Australia Dan Budnik, photographer, United States of America Vita Buivid, photographer, Russia Wawiriya Burton, artist, Western Australia Marcus Canning, CEO Artrage, Western Australia Sundari Carmody, photographer, Australia Sade Carrington, artist, Western Australia Cheeky, artist, Western Australia Isaac Cherel, artist, Western Australia Neil Chowdhury, photographer, United States of America Steven Christie, artist, Western Australia Jeannie Churnside, Ngarluma elder, Western Australia Jill Churnside, artist, Western Australia Keith Churnside, Ngarluma elder, Western Australia Maggie Churnside, artist, Western Australia Rebecca Churnside, Ngarluma elder, Western Australia Adam Coffey, designer, artists, Western Australia Irene Coffin, artist, Western Australia Martin Cox, photographer, United States of America Shannon Crees, artist, New South Wales James Crnkovich, photographer, United States of America Jae Criddle, artist, Western Australia Carly Davenport Acker, curator, producer, Western Australia Jagath Dheerasekara, photographer, Australia/Sri Lanka Devika Dhulat-Singh, writer and curator, India Sheena Dodd, artist, Northern Territory Catarina Diedrich, photographer, Spain Anne Dixon, artist, Northern Territory Clint Dixon, filmmaker, Western Australia Ivy Drill, artist, Western Australia Peter Eastway, photographer, New South Wales Guy Eddington designer/maker, Australia Mark Elbin, maker, Western Australia/Germany John Elliot, photographer, Queensland Benita Everett, artist, Western Australia Peter Fares, dancer, Australia Naveed Farro, filmmaker, Western Australia Eva Fernandez, artist and photographer, Australia Blake Fitzpatrick, photographer, Canada Christian Fletcher, photographer, Western Australia Michael Fletcher, filmmaker, Western Australia Nancy Floyd , photographer, United States of America Harris Fogel, photographer, United States of America Penny Forlano, designer, academic, Australia Alex Fossilo, designer and artist, Western Australia William L. Fox, curator and writer, United States of America Rochelle Ferguson, artist, Northern Territory Jim Fredericks, Ngarluma elder, Western Australia Carole Gallagher, photographer, United States of America Andrew George, photographer, United States of America Nyurpayi Giles, artist, Western Australia Denis Glennon AO, photographer, Australia

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CREATIVES ENGAGED IN 2012

Peter Goin, photographer, United States of America Adam Goodrum, designer, Australia Natalie Grono, photographer, Australia Alice Guinness, artist, Western Australia Sam Harris, photographer, Australia/United Kingdom Warren Hayes, maker, Western Australia/Ireland Tony Hewitt, photographer, Western Australia Pansy Hicks, artist, Western Australia Kenji Higuchi, photographer, Japan Alan Hill, photographer, Australia Christine Hingston, pastel drawing, Western Australia Daniel Hood, designer/maker, Western Australia/UK John Hooton, photographer, United States of America Kyle Hughes-Ogers AKA Creepy, artist, Western Australia Sohrab Hura, photographer, India Kelly Hussey-Smith, photographer, Australia Carol Innes, Noongar cultural advisor, SWALSC, Western Australia Nanana Jackson, artist, Northern Territory Edwin Janes, photographer, Australia Tim Jones, leader in creative place making, Canada Assistant Professor Dr Darren Jorgensen, academic, writer, WA Eileen Juli, artist, Western Australia Mabel Juli, artist, Western Australia Rhea Karam, photographer, United States of America/Lebanon Tiernan Kelly, Director Film City Glasgow, United Kingdom Munish Khanna, photographer, India Jane King, designer, artists, Western Australia Jodee Knowles, artist, New South Wales Igor Kostin, photographer, Russia Andrej Kocis, photographer, Australia Yuri Kuidin, photographer, Kazakhstan Sonia Kurarra, artist, Western Australia Tim Leaversuch, designer/maker, Western Australia Jacob Lehrer, dancer and choreographer, Australia Manyitjanu Lennon, artist, Northern Territory James Lerager, photographer, United States of America Niningka Lewis, artist, Northern Territory Andreas Lobe, photographer, Germany Marina Lommerse, academic, curator, artist, Western Australia Alexander Lotersztain, designer, Australia Nicole Ma, film producer, New South Wales Isobel Macauley, fashion and textile designer, Western Australia David Manley, photographer, Australia Evelyn Malgil, artist, Western Australia Kenneth “KJ” Martin, filmmaker, Western Australia Carrie McDowell, jewellery, Western Australia Barry McGuire, Noongar cultural advisor, artist, Western Australia Justine McKnight, garment designer, Western Australia David McMillan, photographer, Canada Mary Meribida, artist, Western Australia Kuntjiriya Mick, artist, Northern Territory Larry Mitchell, painter, Western Australia Donald Moko, artist, Western Australia Sean Morris, artist, Western Australia Zenneic Mumberay, artist, Western Australia Beryline Mung, artist, Western Australia Prudence Murphy, photographer, Australia Patrick Nagatani, photographer, United States of America Angkaliya Nelson, artist, Northern Territory Matthew Newton, photographer, Australia Andrew Nicholls, artist, Western Australia Chris Nixon, artist, Australia Barbara Norfleet, photographer, United States of America Numskull, street artist, New South Wales Nora Nungabar, artist, Western Australia Roseleen Park, artist, Western Australia David Dare Parker, photojournalism, Western Australi Martin Parr, Magnum Photographer, United Kingdom

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Nancy Patterson, artist, Western Australia Chad Peacock, filmmaker, Western Australia Eunice Porter, artist, Northern Territory Esther Quintal, artist, Western Australia Tjigila Nada Rawlins, artist, Western Australia Sarah Rhodes, photographer, Australia Philipp Rinkens, designer/maker, Western Australia/Germany Louis Rodan, filmmaker, Western Australia Brianna Russell, designer/maker, Western Australia Maurizio Salvati, photographer, Australia Dada Samson, artist, Western Australia Janine Samson, artist, Western Australia Violet Samson, artist, Western Australia Maitland Schnaars, dancer, Australia Jan Schuenke, photographer, Germany Flavia Schuster, photographer, Argentina Kim Scott, author, Western Australia Andrew Shaw, emerging designer, United Kingdom Niharika Senapati, dancer, Australia Paul Shambroom, photographer, United States of America Bewley Shaylor, photography, Western Australia Ketaki Sheth, photographer, India Natasha Shulte, photographer, Ukraine Marc Shoul, photographer, South Africa Ann Sibosado, artist, Western Australia Bharat Sikka, photographer, India Elin O’Hara Slavik, photographer, United States of America Jukuja Dolly Snell, artist, Western Australia Gavin Snook, artist, Western Australia Sholto Spadbury, dancer, Australia Chloe Spiers-Atherden, artist, Western Australia Naomi Stanitzki, print making, Western Australia Nick Statham, designer, New South Wales Lia Steele, photographer, Australia Michael Stone, photographer, Australia Curtis Taylor, filmmaker, Western Australia Michelle Taylor, photographer, Western Australia Sarah Tierney, digital innovator and multi-platform producer, UK Biddy Timbinah, artist, Western Australia Del Tredici, photographer, Canada David Trubridge, designer and maker, New Zealand Gemma-Rose Turnbull, photographer, Australia Lisa Uhl, artist, Western Australia Salih Urek, photographer, Turkey Vaclav Vasku, photographer, Czech Republic Annet van der Voort, photographer, The Netherlands Dr. Les Walkling, photographer and academic, Victoria Wendy Warrie, artist, Western Australia Mags Webster, writer and poet, Hong Kong Hayley Welsh, artist, Western Australia Bugai Whyoulter, artist, Western Australia Elizabeth Wintle, photographer, United Kingdom Josh Wodak, photographer, Australia Art Wolfe, photographer, United States of America Nora Wompi, artist, Western Australia Margaret Yai Yai, artist, Northern Territory Amy Yangki, artist, Northern Territory Yaritji Young, artist, Western Australia Gunter Zint, photographer, Germany Among others...

THANK YOU

Thank You

FORM wishes to thank each and every person, organisation, agency and company mentioned in this annual report, whose varied and valuable contributions to an array of FORM projects over 2012 has shaped what has been a productive and successful year.

FORM’s corporate partnerships in particular not only provide us with new opportunities and better solutions, but encourage the broader business sector to think dierently about the way they contribute in the communities with which they do business.

PRINCIPAL PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

GALLERY PARTNERS

Arts Law

Amelia Park Wines

City of Swan

Australian Bureau of Statistics

Department of Commerce

Boom Sherrin Environmental Industries

Department of Foreign Affairs and Trade, Australian International Cultural Council

ESS Compass Group Hedland First National

Department of Prime Minister and Cabinet: Office for the Arts

Hedland Home Hardware & Garden Horizon Power

Department of Regional Development and Lands

Inline Engineering Liberty Industrial

Herbert Smith Freehills Little Creatures Brewing Landcorp

Mirvac

Lotterywest

North West Telegraph

National Museum of Australia

Onsite Rentals

Pilbara Development Commission

Port Hedland Port Authority Quiet Acoustics

Pilbara Regional Council Roberts Day Town of Port Hedland Urban Art Projects

Scott Print The Butcher Shop Wesfarmers Worley Parsons

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