FORM 2016 Annual Report

An n ual Re p o rt

2016

Cover image: Untitled, Karim Jabbari, 2016.

Photograph by Bewley Shaylor & Chad Peacock, 2016.

39 Gugeri Street Claremont, Western Australia, 6010 E: mail@form.net.au T: +61 8 9226 2799 F: +61 8 9226 2250

Designed and published by FORM. Printed by Scott Print

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

Š2016. 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.

An n ual Re p o rt

2016

CONTENTS

At Python Pool, Yuko Fujita, gum tree bark, silver, acrylic paint, from Worn Land, 2016. Photograph by Bewley Shaylor, 2016.

Introduction

• • • • •

Foreword FORM Network Overview Year at a Glance 2016 Highlights

• • • • •

The Goods Shed Creative Learning The Core Worn Land LeveL and volumes

• • • • • • •

mischer’traxler Penny Coss Consuelo Cavaniglia Pilar Mata Dupont Berndnaut Smilde Bedazzle David Charles Collins

• • • • • •

• •

Whose Place is it Anyway?

PUBLIC Campus PUBLIC Platform PUBLIC Forum PUBLIC Art in the Great Southern PUBLIC Art in Ravensthorpe • Silos Project Fitzgerald Biosphere • Chinatown Public Art

121 - 122

• • • • •

Land.Mark.Art Spinifex Hill Studios Kurlkayima Ngatha - Remember Me Doreen Chapman In Your Hands

123 - 132

•

133 - 136

• • •

Port Hedland Courthouse Gallery Light Angles, Douglas Kirsop; a dot on the run • • Kurlkayima Ngatha - Remember Me; My Town, Amanda Firenze Pentney Tales from the Desert, Tjanpi Desert Weavers; Textures, • Janelle McCaffrey; The Pilgrim, Helen Komene • Hedland Art Awards Bedazzle; Biggest Mob, Spinifex Hill Artists • Port Hedland Arts Development West End Markets and Creative Business Development Port Hedland Visitor Centre,

• • • • • • •

Evaluation Membership Media, Marketing, Communications Publications, Films, Multimedia Creatives Engaged Board Members’ Report Thank you

3-6 7-8 9 - 12 13 - 20 21 - 28

The Goods Shed

29 - 30 31 - 38 39 - 42 43 - 46 47 - 48

Studio Practice and Residencies

49 - 58 59 - 60 61 - 62 63 - 64 65 - 68 69 - 70 71 - 72

Art in Place

73 - 78 79 - 80 81 - 84 85 - 86 87 - 88 89 - 92

93 - 94 95 - 104

Aboriginal Cultural Development

105 - 110 111 - 114 115 - 118 119 - 120

Creative Regional Communities

137 - 140 141 - 142

Organisation

143 - 145 146 147 - 150 151 - 152 153 - 156 157 - 158 161 - 164

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Annual Report | 2016 |

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Six Stages of Banksia baxteri, Amok Island, for PUBLIC Art in Ravensthorpe, 2016. Photograph by Bewley Shaylor, 2016.

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FOREWORD

Annual Report | 2016 | Foreword

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If 2015 was about resilience and optimism in the face of a challenging financial climate, 2016 has certainly been a continued test of FORM’s ability, if not its resolve, to stay true to the central ethos of ‘building a state of creativity’ in Western Australia. In fact, as the impact of the resource industry slow-down really started to bite in the State’s regions and cities during the past year, the argument for a diversified economy—for which FORM has advocated now for over a decade— gained ever more traction.

Despite the challenges of the economic climate, FORM accomplished several significant achievements during 2016.

The third and final iteration of PUBLIC in the metropolitan area brought national and international urban artists to three key locations: Claremont, Curtin University’s campus, and Albany in the Great Southern.

FORM hosted PUBLIC forums featuring international luminaries such as UK artist Bruce Munro, direct from installing Field of Light at Uluru, Japanese architect Takaharu Tezuka, Tunisian light-graff artist Karim Jabbari, silo maestro Alex Brewer (HENSE), and the CEO of San Francisco’s Yerba Buena Centre for the Arts, Deborah Cullinan, all of whom offered examples of how creativity could make people stop, think, and demand more from their environments.

In an Australian first, over a sunny weekend in April, PUBLIC brought crowds of all ages to Claremont’s Bayview Terrace to roadtest place-making ideas in its Platform prototyping festival. Backyard in a Ute, complete with sandpit and barbecue, won the ‘best in show’. A botanically authentic, walk-through scale replica of the GuildfordClaremont section of railway, circa 1880s, was voted the People’s Choice. mischer’traxler studio: LeveL and volumes, exhibition opening night, November, 2016. Photograph by Bewley Shaylor, 2016.

PUBLIC’s focus on Claremont was a curtainraiser to FORM’s most substantial undertaking of the year: The Goods Shed. For many years, Claremont Station’s original freight storage and despatch facility had been lying empty. Ripe for creative re-use, it presented the perfect opportunity. A rare heritage building in a great location blessed with excellent public transport access, The Goods Shed presents a rare opportunity in Perth, where so many heritage buildings have been lost. After a substantial refurbishment of the 120 year-old structure and its grounds in partnership with LandCorp and a consortium of dedicated builders, construction companies, and landscapers, The Goods Shed was ready for action as Western Australia’s newest creative project space: a centre dedicated to welcoming local neighbourhoods, a hub for the wider metropolitan area, and a place that actively fosters global connections.

It opened in August 2016, and in its first two months alone, featured eight national and international artists, and staged over 50 events: exhibitions, performances, workshops, and talks, community events, and private functions.

FORM curates The Goods Shed to give rise to delight and discovery through new forms of artistic practice, and to encourage new ways of thinking about place and communities. Able to accommodate art, installations, learning, performance, and resident experts, it is a versatile space, open seven days a week.

The year-round program involves local and international artist and speaker residencies, which focus on the power of creativity to enrich the experience of place and people. Creative learning workshops have partnered artists with schools, and artists with artists.

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Alongside its transformation of The Goods Shed, FORM has worked with the Town of Claremont to make the former Station Master’s House its new headquarters, similarly re-enlivening this beautiful heritage space. Combined, these efforts form a creative precinct re-connecting the community with under-used areas of Claremont, and creating new cultural amenity for Perth and the State.

Annual Report | 2016 | Foreword

People’s delight in The Goods Shed’s revitalisation, and the interest that the people of Albany, Northam, Ravensthorpe, Perth, and the Pilbara have shown in PUBLIC’s artists and events over the past three years are among the many things that have strengthened FORM’s conviction that a curatorial approach is central to community engagement. Under the right conditions, it is possible to advocate a virtuous circle linking people with place, place with creativity, and creativity with people.

Every one of us is part not just of one, but of several communities: workplaces, neighbourhoods, extended families, professions, shared interests, cultural heritage.

These communities are socially as well as geographically delineated. Some are long established, some newly forged. Connections are lateral as well as literal, emotional as well as actual. The resilience and worth of any community depends upon ‘a collectively held belief in [the] ability to adapt and thrive in spite of adversity [whereby] individuals activate relationships with their peers, with networks and state structures to capitalise on dormant and existing capacity.’1 As 2016 came to a close, Western Australia ranked eighth position in state and territory economic performance.2 It once occupied first place. If there is something instructive to be drawn from this, surely it’s that measuring Western Australia’s prosperity solely by the bottom line of a balance sheet risks reducing complex factors to profit and loss, and this is such a narrow definition of worth.

What’s more intrinsic to the value of a place is how its people respond to changing conditions, how they look beyond quantity to quality, and how they determine the parameters of success. In these respects, this State is potentially still mighty in all senses of the word.

More than ever, this is a time of opportunity: for Western Australia to rethink investment in the cultural and knowledge dimensions of our economy; for us to forge better and more equitable connections between the regions and metropolitan areas; and to reassess and champion the value of our State’s natural assets, its creative talent, and the unique knowledge and culture of its Aboriginal people.

In short, it is time for Western Australians collectively—whatever stake we hold in our State, or role we perform—to test our belief in our ability to adapt and thrive, and find out how resilient we truly are. ‘Social innovation thrives on collaboration; on doing things with others, rather than just to them or for them’ observes chief of NESTA Geoff Mulgan.3 Wherever we live—remote, urban, metropolitan, or rural—it’s time for us all to invest in Western Australia.

1.

Nina Mguni & Lucia Caistor-Arendar. 2012, Rowing Against the Tide: Making the Case for Community Resilience, The Young Foundation, p. 5.

Mulgan, G. 2011. ‘Happiness—and how to find it’. The Observer. 3 April. Available from http://www.guardian.co.uk/ lifeandstyle/2011/apr/03/happiness-how-to-find-it/print

2.

—Oct 2016. State of the States. CommSec.

3.

Mulgan, G. 2011. ‘Happiness—and how to find it’. The Observer. 3 April. Available from http://www.guardian.co.uk/ lifeandstyle/2011/apr/03/happiness-how-to-find-it/print

Fitzgerald Biosphere exhibition opening night, October, 2016. Photograph by Edwin Sitt, 2016.

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FORM NETWORK

Annual Report | 2016 |

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Canberra, ACT Vienna, Austria Ghent, Belgium RibeirĂŁo Preto, Brazil Montreal, Canada Klaten, Indonesia Manisrenggo, Indonesia Cagliari, Italy Milan, Italy Pescara, Italy Bologna, Italy Tokyo, Japan Amsterdam, Netherlands Rotterdam, Netherlands Christchurch, New Zealand Mount Warning, NSW Sydney, NSW Alice Springs, NT Haasts Bluff, NT Tjukurla, NT Karachi, Pakistan Cascais, Portugal Brisbane, QLD Kazan, Russia Madrid, Spain Tunis, Tunisia East Sussex, UK Glasgow, UK Newcastle upon Tyne, UK Wiltshire, UK Atlanta, USA New York, USA Philadelphia, USA San Francisco, USA Melbourne, VIC Albany, WA Broome, WA Bunbury, WA Dunsborough, WA Fitzroy Crossing, WA Geraldton, WA Newman, WA Perth, WA Port Hedland, WA Warakurna, WA Yallingup, WA

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Annual Report | 2016 |

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THE CENTREPIECE AWARD

OVERVIEW

Place Leaders PUBLIC 2016

NATIONAL PARKS AND LEISURE AUSTRALIA AWARDS

In this Annual Report you’ll read about The Goods Shed, Western Australia’s newest creative project space, and one of FORM’s most significant projects in recent years; about the experience of PUBLIC; our exhibitions and residencies; our public art team; the work we do regionally, and the way we network with local, national and international artists, experts, developers, government, and business in order to bring fresh ideas and connections to Western Australia.

National Award of Excellence in Events PUBLIC 2016

DIA WA: 2015 Innovation Award PUBLIC 2015

AUSTRALIAN INTERIOR DESIGN AWARDS Commendations for Installation Design PUBLIC 2015

DIA WA: 2015 Award of Merit PUBLIC 2015

AUSTRALIAN WEB AWARDS (WA) WINNER Non Profit Website PUBLIC 2015

PARKS AND LEISURE AUSTRALIA WA AWARDS Excellence for Events PUBLIC 2015

CODAWORX VIDEO AWARDS Top 100 mischer’traxler: LeveL and volumes exhibition opening night, November, 2016. Photograph by Edwin Sitt, 2016.

PUBLIC 2015: ART IN THE WHEATBELT

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FORM values: •

Access to arts and culture for all: putting excellence in arts and culture at the centre of Western Australian life.

•

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

•

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

Annual Report | 2016 | Overview

FORM’s long-term goals are to: •

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

•

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

•

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

•

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

•

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

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Berndnaut Smilde searching for a shoot location in Karijini National Park during his Pilbara residency, December 2016. Photograph by Bewley Shaylor, 2016.

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YEAR AT A GLANCE

January FORM’s PUBLIC 2015 program wins two awards at the 2015 Design Institute of Australia WA Design Awards.

Public launch of Elizabeth Quay and Laurel Nannup’s First Contact artwork.

Annual Report | 2016 | Year at a glance

Installation of Ted Byrne’s integrated artwork in South Hedland.

February Kurlkayima Ngatha—Remember Me opens at FORM Gallery, accompanied by an artist’s talk by participating artist, Queensland-based, Fiona Foley.

Douglas Kirsop’s Light Angles opens at Port Hedland Courthouse Gallery. a dot on the run opens at Port Hedland Courthouse Gallery.

Douglas Kirsop painting masterclass takes place in the Pilbara.

Spinifex Hill Artists’ Anything Colours opens at Paul Johnstone Gallery, Darwin.

Tropfest screening is held in the West End in partnership with the Town of Port Hedland, showcasing the finalists of the world’s largest short film festival.

First 2016 edition of Art After Dark is held at the Port Hedland Courthouse Gallery Gallery, celebrating the opening of a dot on the run with an interactive drawing evening.

Installation of Frank Footscray’s statement artwork in South Hedland.

Crab 1, 2, 3, Nicky Hepburn, crab claw, head, leg, and body, sterling silver, enamel paint, from Worn Land, 2016. Photograph by Andrew Barcham, 2016.

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April PUBLIC Platform, Perth’s first prototyping festival, sees installations by 25 creative teams installed along Bay View Terrace over the first weekend in April.

As part of PUBLIC Platform, FORM facilitates a residency and performance by Melbourne-based Mike Hornblow and Indonesian dancer and choreographer Agung Gunawang.

Permanent wall art by urban artist Beastman is installed in Claremont as part of PUBLIC. PUBLIC Forum Future/Place: Enabling Platforms, featuring Deborah Cullinan, Takaharu Tezuka, and Mike Hornblow takes place at Scotch College.

PUBLIC Campus features 16 urban artists from around the world, creating artworks at Curtin University.

PUBLIC Forum Future/Place: Creating Experience, featuring Bruce Munro, Karim Jabbari, and Alex Brewer (HENSE) takes place at Curtin University.

PUBLIC Art in the Great Southern sees 10 urban artists from around the world create artworks in Albany’s town centre.

Three Spinifex Hill Artists, Beryl Ponce, Teddy Byrne, and Kelvin Allen, are selected to exhibit artworks in Revealed 2016, Fremantle.

Port Hedland Courthouse Gallery hosts a drawing workshop facilitated by Linda Fardoe.

The first West End Markets for 2016 take place in Port Hedland Courthouse Gallery Gardens.

Spinifex Hill Studios hosts a leather workshop facilitated by Rebecca Fogarty, part of the Creative Business Development Series.

Golden Eagle, Tarryn Gill, digital wallpaper, from Bedazzle, 2016. Photograph courtesy of the artist, 2016

March Port Hedland Visitor Centre holds a stall at the Caravan & Camping Show, where the FORM-produced Pilbara Pathfinder guide to the region is lunched.

The Radiance of the Seas docks in Port Hedland with around 1,500 passengers disembarking hosted by Port Hedland Visitor Centre.

Port Hedland Courthouse Gallery showcases a series of photographs taken by local photographers at the March edition of Art After Dark.

Port Hedland Courthouse Gallery hosts Business Basics workshop, part of the Creative Business Development Series.

The second regional residency takes place as part of FORM’s Bedazzle – Photographing Western Australia’s Gold Towns project in KalgoorlieBoulder, travelling to iconic gold towns including Coolgardie, Kambalda, Gwalia, and Menzies.

In the lead-up to PUBLIC 2016, a number of mural works are installed around Claremont in late March, including temporary window murals along Bay View Terrace, and permanent murals

by Anya Brock, AddFuel and Matthew Wong.

Banksia baxteri, mural by Amok Island, Fitzgerald Biosphere, 2016. Photograph by Bewley Shaylor, 2016.

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August FORM’s new project space The Goods Shed opens in Claremont with The Core by artist-in-residence Karim Jabbari, with Bewley Shaylor and Chad Peacock.

Winnie Sampi and William Gardiner are finalists at the 33rd Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin.

Bedazzled painting with light workshop held by Rebecca Dagnall at The Goods Shed.

Expert-in-residence Paul Collard gives a Speaker Series talk on creativity in children, with a performance

by Karim Jabbari at The Goods Shed.

Annual Report | 2016 | Year at a glance

May

June

July

Textures by Janelle McCaffrey opens at Port Hedland Courthouse Gallery.

My Town by Amanda Firenze Pentney opens at Port Hedland Courthouse Gallery.

Bedazzle: Photographing Western Australia’s Gold Towns featuring artists Thea Costantino, Rebecca Dagnall, and Tarryn Gill opens at FORM Gallery.

Kurlkayima Ngatha—Remember Me opens at Port Hedland Courthouse Gallery.

Bedazzle artist talks held at FORM Gallery.

The Pilgrim by Helen Komene opens at Port Hedland Courthouse Gallery.

Tales from the Desert by the Tjanpi Desert Weavers opens at Port Hedland Courthouse Gallery.

Pimms and Pastels event is held in the grounds of Port Hedland Courthouse Gallery, facilitated by artist Helen Komene.

Art After Dark at Port Hedland Courthouse Gallery hosts a weaving circle.

Port Hedland Courthouse Gallery hosts Volume One of Creative Business Development Series.

Spinifex Hill Studios hosts Celebrate WA Day, featuring weaving artists Emma Davies and Fiona Gavino.

The second West End Market for 2016 takes place, celebrating WA’s makers, provedores, artists, and performers.

Amanda Firenze Pentney facilitates a linoprint workshop session in the Courthouse Gallery for Art After Dark.

Installation of Troy Barbita’s gateway artwork in Melville.

Perth Stadium artist Chris Drury presents a free artist’s talk at FORM Gallery for an enthusiastic audience, where his artwork for the stadium is first announced publicly.

Completion of murals by Ian Mutch, Matthew Wong, Stephen Baker and Fudge in Chinatown.

Installation of four artworks in Karratha Quarter

by Jill Churnside, Merinda Churnside, Wendy

Completion of Alex Fossilo’s entry arbor artwork at Mill Point Road.

Warrie and Violet Samson.

The 2016 Hedland Art Awards open at Port Hedland Courthouse Gallery, judged by Tim Acker, Thea Costantino, and Pilar Mata Dupont.

Bedazzle curators’ walk through held at FORM Gallery as part of the Social Impact Festival 2016.

Spinifex Hill Artist William Nyapuru Gardiner is awarded the Most Outstanding Work in the 2016 Hedland Art Awards, for his artwork Disco Cowboy.

Consuelo Cavaniglia and Penny Coss begin residencies in the Pilbara, incorporating research trips to Karijini National Park and Marble Bar.

Photographer Bewley Shaylor and film maker Chad Peacock hold a time-lapse-capture workshop at The Goods Shed.

Maggie Green wins ‘Best Artwork by Pilbara Artist’ while Doreen Chapman wins ‘Best Artwork by Pilbara Indigenous Artist’ at the 2016 Cossack Art Awards.

Light painting workshop with Karim Jabbari and Bewley Shaylor held at The Goods Shed.

Karijini photography camp is held, facilitated by Meleah Farrell and Bewley Shaylor.

IBN Chairwoman Lorraine Injie speaks about her participation in Kurlkayima Ngatha - Remember Me at Art After Dark at Port Hedland Courthouse Gallery.

Port Hedland Courthouse Gallery hosts Volume Two of Creative Business Development Series.

Members VIP afternoon with Aesop Business Development Manager Imogen Thomas, hosted at Port Hedland Courthouse Gallery.

Bespoke furniture by Alex Fossilo installed in Chinatown forecourt.

Partial view of mischer’traxler studio: LeveL and volumes exhibition, 2016, featuring relumine – lamp. Photograph by Bewley Shaylor, 2016.

Artist-in-residence Karim Jabbari holds masterclasses in calligraphy at The Goods Shed.

Panel discussion on The Western Australian Regional Gothic held at FORM Gallery with Dr Anna Nazzari, Dr Travis Kelleher, and Bedazzle artists Dr Thea Costantino and Rebecca Dagnall, and curators.

Pilar Mata Dupont completes a residency in the Pilbara, incorporating a research trip to Karratha, Cossack, Marble Bar, and Millstream-Chichester National Park.

Port Hedland Courthouse Gallery hosts a felting workshop facilitated by visual artist Louise Snook in the Gallery Gardens.

Art After Dark features six Hedland Art Award 2016 finalists in a series of Art Battles at the Port Hedland Courthouse Gallery.

The Art Edition of West End Markets is held in Port Hedland’s West End.

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Creative Learning workshops, co-facilitated by expert and artist in residence Paul Collard and Yaminay Chaudhry, take place at The Goods Shed for students from four schools.

Paul Collard and Yaminay Chaudhry, facilitate Creative Learning workshops at The Goods Shed to build capacity of teachers, artists, and educators.

Amok Island begins painting three CBH silos in Ravensthorpe.

September Paul Collard’s public presentation for parents on developing creativity in children is held at The Goods Shed.

Artists-in-residence Yaminay Chaudhry and Paul Gorman discuss community driven artwork in a digital world at The Goods Shed.

Worn Land: Four Contemporary Jewellers in the Pilbara opens at The Goods Shed, featuring Yuko Fujita, Nicky Hepburn, Pennie Jagiello, and Natalia Milosz-Piekarska, after three years of development.

Caladenia exilis (detail), Amok Island, acrylic on canvas, 105 x 80 cm, from Fitzgerald Biosphere, 2016. Photograph by Bewley Shaylor, 2016.

Worn Land artist talks are held at The Goods Shed with all four artists in attendance.

The Body and our Land, a free panel discussion with Worn Land jewellers, curator Mollie Hewitt, Dr Travis Kelleher, and poet Mags Webster held at The Goods Shed.

Amok Island completes Six Stages of Banksia baxteri on three CBH silos in Ravensthorpe.

Spinifex Hill Studios hosts a Father’s Day DIY event with furniture designer Andrew Christie.

Sydney-based photographic artist David Charles Collins undertakes a residency in the southern Goldfields-Esperance region, coinciding the the Ravensthorpe Wildflower Festival and in conjunction with the Ravensthorpe Regional Art Council.

Port Hedland Courthouse Gallery hosts Volume Three of Creative Business Development Series.

Creative Bootcamp, a workshop with Natalia Milosz-Piekarska (Worn Land jeweller), held at The Goods Shed.

Paul Collard and Paul Gorman, facilitate Creative Learning workshops at The Goods Shed to build capacity of teachers, artists and educators.

Walk the Land, a workshop with all four of the Worn Land artists, is held at The Goods Shed.

Creative Learning session co-facilitated by Paul Collard and Yaminay Chaudhri for Roebourne District High School students.

Creative Learning workshops, co-facilitated by Paul Collard and Paul Gorman, take place at The Goods Shed for students from seven schools.

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Annual Report | 2016 | Year at a glance

October Paper Making Workshop with Ingrid Mulder is held at Port Hedland Courthouse Gallery as part of the Creative Business Development Series.

Bedazzle – Photographing Western Australia’s Gold Towns opens at Port Hedland Courthouse Gallery.

Worn Land curator Mollie Hewitt talks through the process of curating the exhibition in Coffee with the Curator events at The Goods Shed.

Biggest Mob, by the Spinifex Hill Artists, opens at Port Hedland Courthouse Gallery.

Super Nature perfume making workshop with Kat Snowden is held at The Goods Shed.

Found and Wound weaving workshop with Fiona Gavino is held at The Goods Shed.

Film of Amok Island’s Six Stages of Banskia baxteri by Peacock Visuals is released.

Amok Island: Fitzgerald Biosphere and Doreen Chapman’s eponymous solo exhibition open at FORM Gallery,Perth.

Arty Party takes place, hosted by Port Hedland Courthouse Gallery in partnership with pop-up restaurateurs Rezari and Goldman Wines.

Port Hedland Courthouse Gallery hosts the children’s educational performance Spinifex Express.

The final West End Market for 2016 is held in Port Hedland Courthouse Gallery Gardens, celebrating 120 years of Port Hedland’s township.

Installation of Chris Nixon’s bespoke screen artwork at The Springs, Rivervale.

Untitled, Doreen Chapman, acrylic on canvas, 69.5 x 94.5 cm, from Doreen Chapman, 2016. Photograph by Bewley Shaylor, 2016.

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December November Looking Forward event is held at The Goods Shed as part of Open House Perth.

Looking Back – Living Histories of The Goods Shed event is held as part of Open House Perth.

The first workshop for FORM’s collaboration with Melbourne-based children’s theatre group Polyglot Theatre and the Tjanpi Desert Weavers takes place over two weeks at Polyglot Theatre in Melbourne.

Berndnaut Smilde’s regional residency begins in the Pilbara.

Pilbara’s West End Collective stallholders participate in the Fremantle Bazaar.

Pop-up Christmas Bazaar is held in Port Hedland, featuring West End Market stallholders.

Berndnaut Smilde’s artist talk on Revelation, Hope, and Fragility is held at The Goods Shed.

Following the Melbourne Polyglot workshops, FORM’s curators and media team travel to Sydney for three days of media liaison and studio and gallery visits to promote FORM’s regional programming.

fantastic realities masterclass with mischer’traxler studio takes place in Albany during the artists’ regional residency. The workshop incorporates an artists’ talk for the local community.

Dutch artist Berndnaut Smilde’s Western Australian residency begins.

The Crown Towers Perth development officially opens to the public. FORM are the art consultants for this development, creating the art strategy and delivering 1390 individual 2D and 3D artworks that feature throughout the hotel.

mischer’traxler studio’s exhibition LeveL and volumes opens at The Goods Shed. mischer’traxler studio artist talk held at The Goods Shed Austrian design duo mischer’traxler studio’s Western Australian residency begins in the Great Southern.

Andy Quilty delivers drawing workshops in the Pilbara for the Spinifex Hill Artists, as part of an ongoing collaborative project with Martumili Artists.

The Radiance of the Seas docks in Port Hedland with around 1,500 passengers disembarking the cruise ship to visit the Community Markets, Port Hedland Courthouse Gallery, and Port Hedland Visitor Centre.

Installation of Nick Statham’s bespoke concrete furniture in The Springs, Rivervale.

mischer’traxler studio: Level and volumes exhibition opening night, November, 2016. Photograph by Edwin Sitt, 2016.

Berndnaut Smilde travels to Cape Leeuwin in the South West to create an experimental light installation in the Cape’s iconic lighthouse.

FORM wins the Place Leaders Asia Pacific Centrepiece award recognising ‘the breadth and depth of dialogue FORM has enabled in diverse communities throughout Western Australia to create better places, and greater engagement with local and Indigenous art and culture.’

Barry McGuire’s large scale Noongar sculptural works, The Message Sticks, are unveiled at the Perth Stadium.

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Annual Report | 2016 | Tellas at work for PUBLIC Campus, 2016.

Photograph by Luke Shirlaw, 2016.

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2016

HIGHLIGHTS

A celebration of

PUBLIC 2014 - 16

In 2016, FORM concluded three years of collaboration with city and country neighbourhoods in Western Australia for PUBLIC, a festival of art and urban activation exploring creativity for the public good. Over 200 artists and trailblazers in social and cultural innovation from 21 countries shared their visions, experiences, artistic talent, and creative energy. They also shared countless moments of connection and conversation with people of all ages, people who care passionately about the places where they live, and are eager for exchange and engagement.

How did PUBLIC work, and what has it achieved? And what next?

Combining street art with a large number of speaker events, exhibitions, workshops, design challenges, and residencies, PUBLIC sought to involve people from all walks of life in a fundamental conversation about how we all play a part in shaping the places where we live.

In 2014, the festival focused mainly on the transformative power of art, with murals on buildings in the Perth CBD, the Pilbara, and at Western Australia’s largest lodging house at Hampton Road in Fremantle.

NUMBER OF CREATIVES

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CREATIVES OVERALL

In 2015, while local and international artists were deployed to Victoria Park, Claremont, Fremantle, Northbridge and Leederville, others took on gigantic grain silos outside Northam, and a high school complex in South Hedland. Meanwhile, in the city, ideas took centre stage with a PUBLIC Symposium examining how creativity can contribute to community-building, and featuring 26 inspiring speakers from all around the world. Some addressed the issues from an aesthetic and design angle; others brought a systemic, public administration perspective; others gave examples of social outcomes through redemptive architecture and urban transformation. Whether public servants, planners or politicians, designers, architects or educators, academics or artists, all were talking about entrepreneurship, leadership and democracy, and all of them acknowledged how uncertainty plays a vital role in any cultural endeavour.

All of this dialogue unfolded against a backdrop of several exhibitions at venues across Perth.

In 2016, three key locations received the PUBLIC treatment: Claremont, Curtin University Bentley campus, and Albany in The Great Southern. In addition to public artworks, FORM staged a street activation prototyping festival in Claremont, and two forums featuring six international speakers from the world of architecture, arts management, and public art. Later in the year, three massive silos in Ravensthorpe became the latest addition to Western Australia’s PUBLIC open-air gallery , transforming iconic infrastructure and regions.

WALLS PAINTED

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Untitled (detail), HENSE, from PUBLIC Art in the Great Southern, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 |

‘MY PUBLIC 2016 EXPERIENCE WAS ONE OF THE BEST EXPERIENCES IN MY LIFE. I DISCOVERED A UNIQUE LAND, MET AMAZING PEOPLE AND LEFT THREE WALLS TO SAY THANK YOU FORM, THANK YOU CURTIN UNIVERSITY AND THANK YOU ALBANY.’ PUBLIC 2016 artist, Karim Jabbari, 2016.

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EXHIBITIONS & EVENTS

APPROXIMATELY

$ 834, 00 0

DURI N G P UBLI C

4

WAS RETU RNED BACK TO CREATIVES ACROSS 2014-16

REACH IN PERSON

2014

2 014

15

40,000

2015

2 015

45,000

7

2 016

52,000

2016

REGIONAL RESIDENCIES 2014

14

2 015

7

2016

8

2014 - 2016

226 CREATIVIES

161 WALLS

26

EVENTS / EXHIBITIONS

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Annual Report | 2016 |

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Each year FORM carried out surveys and collected feedback in an attempt to measure the reactions of the public to PUBLIC, and the economic and social spinoffs. These results are represented graphically throughout this publication. What cannot be captured by statistics and infographics, however, is the sense of the spontaneity and openness, the delight and the surprise, the confidence and the candour that passers-by and communities extended towards the artworks and the artists, and the subsequent manifestation of ownership and pride of place. With all these elements factored in, it’s fair to argue that PUBLIC has been a highly democratic way of demonstrating the power of creativity in the public realm.

PUBLIC has aimed to remind us that culture is not a privilege of the gifted and the few, nor is it the preserve of institutions. As cultural researcher John Holden comments, culture is ideally ‘something we all own and make, not something that is “given”, “offered” or “delivered” by one section of “us” to another.’1

Yet while PUBLIC may seem to be about street art, murals, spray cans and paint, or about ‘brightening up the neighbourhood’, it’s also about something deeper than the façade of a building.

It’s about creativity contributing to the common good. PUBLIC is ultimately about the art of belonging. Of having fun while making meaningful connections. Of being human, and being part of a community, and being part of shaping that community in different and innovative ways.

The next stage in PUBLIC’s evolution has involved one of the most important moves FORM has made in its recent history: moving to Claremont to establish Perth’s newest creative project space, The Goods Shed.

To read more about the PUBLIC 2016 activities, see page www.public.form.net.au

1.

Democratic Culture: Opening Up the Arts to Everyone. DEMOS 2008

PUBLIC has left legacies. Some are obvious: there are now around 166 murals and installations on buildings from The Great Southern to the Pilbara, and commissions have flowed in as a result of the artists’ exposure to the public. Some legacies are more subtle, but no less powerful and transformative. Having conversations and ideas about what it means to live in communities that are confident in their identity― and that welcome and value creativity as part of that lived experience― cannot help but have an effect. That effect is an appetite for more: more art, more interaction and conversation.

More creativity. And perhaps a better understanding of creative place-making.

Borondo at work for PUBLIC Campus, 2016.

Photograph by Bewley Shaylor, 2016.

Add Fuel and his mural for PUBLIC Campus, 2016.

Photograph by Bewley Shaylor, 2016.

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THE GOODS SHED some destinations are worth the wait

Annual Report | 2016 | The Goods Shed

While FORM still operates an office and gallery in the King Street Arts Centre, in 2016 we moved our headquarters to The Station Master’s House at Claremont Railway Station.

The reason for this move is a beautiful and unique old building on the other side of the railway: a precious part of Claremont’s industrial past, repurposed as Perth’s newest cultural hub and creative project space.

For FORM, The Goods Shed represents an exceptional― and unmissable― opportunity to create an international calibre hub for creative exchange, a centre dedicated to welcoming local neighbourhoods while creating global connections, a cultural facility that aims to open up new ways of thinking about place and communities and give rise to delight and discovery through new forms of artistic practice and ideas. The Goods Shed, in tandem with FORM Gallery in the city, increases FORM’s capacity to showcase creativity, and explore local, regional, and international perspectives with the people of Western Australia.

Renovated over a nine-month period by FORM as an outcome of partnerships with LandCorp and various construction, landscaping and engineering companies (see the partners list at the back of the Annual Report), The Goods Shed was opened by the Premier, the Hon. Colin Barnett in August 2016.

To read more about The Goods Shed, and the programs, exhibitions, and activities it has hosted since opening, visit www.thegoodsshed.form.net.au

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Worn Land exhibition opening night, September 2016. Photograph by Edwin Sitt, 2016.

‘VERY APPRECIATIVE AND EXCITED THAT CLAREMONT HAS EMBRACED THE ARTS. REALLY IMPRESSED WITH THE SPACE. INSPIRED EVERY TIME I VISIT.’ Survey respondent, 2016.

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CREATIVE LEARNING at The Goods Shed

What’s unique about being a 10-year old Australian? How might our national flag —originally designed by a 14 year-old schoolboy in 1900—be reimagined by primary schoolkids over a century later?

What would a sculpture of a ‘typical’ Australian adult or child look like (when it’s constructed by – and out of – Year 5 students)? What’s a ‘typical’ Australian anyway? And what might the world look like through the eyes of another being?

Annual Report | 2016 | The Goods Shed

These are some of the questions a group of schoolchildren might be asked to address in a creative learning session at The Goods Shed. If they don’t sound like the usual problems posed in an arts-based schools workshop, then that’s deliberate.

18

WORKSHOPS

13 SCHOOLS

980

OVERALL ENGAGEMENT

325

STUDENTS ENGAGED

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International research is finding that using arts and creativity as pedagogical tools positively impacts learning. The lives of young people, teachers, educators and the community can be enriched by providing meaningful opportunities for engagement with culture everywhere: in galleries, classrooms, and on the streets.

FORM’s Creative Learning program, run initially as a pilot program during August/ September 2016 at The Goods Shed, aims to tap into the creative problem-solving capabilities most adults and children possess, but which they don’t always access or practise in a conventional classroom environment. Rather than learning through a mainstream ‘let’s paint a picture’ approach, The Goods Shed’s creative experts challenge children—and the artists and adults who work with them—to address living in the world in a way in which involves as much lateral thinking as it does active engagement.

The child ‘has much of the adult’s conceptual ability. He [and she] can see the landscape as a segment of artfully arranged reality “out there,” but [s]he also knows it as an enveloping, penetrating presence, a force … the child is open to the world.’1 And for the child, this is a world that is vivid, fertile, and malleable to the imagination; a world in which anything is possible, yet there is a logic— sometimes firm, sometimes elastic—in the way in which one idea connects to another. But for teachers and educators it’s not always obvious how to draw out this imagination and create a learning environment in which children fire up with ideas.

Summer holiday creative learning workshop at mischer’traxler: LeveL and volumes exhibition, 2017. Photograph by Lamis Sabra, 2017.

This approach offers new ways to learn across all subject matter by supporting development of executive functions of the brain, and provides a means of learning that engages all the senses, with children learning at intellectual, emotional, and physical levels simultaneously.

Resident experts Paul Collard, Yaminay Chaudhry, and Paul Gorman, delivered 18 workshops, 16 at The Goods Shed, where its versatility as a creative project space was fully utilised. No part of the building was off-limits; as long as the exhibition artworks are respected, any surface or fitting is a work surface or learning opportunity: floor, loading dock, original features, and furniture.

An additional two workshops were conducted at Roebourne District High School, and Westminster Education Support Centre.

Overall, 325 children from 13 Western Australian schools participated. The program also provided opportunities for educators to learn skills for embracing the arts in learning, and to be exposed to international best practice in arts-driven education. And importantly it provided preliminary training, skills and resources for artists on how to apply this approach in education and mentoring settings.

Though dependent on funding, FORM hopes to continue the Creative Learning program at The Goods Shed in 2017, with plans to develop a model for wider application to school curriculums over the coming years.

To read more about the people involved in FORM’s Creative Learning Program visit: www.form.net.au/goods-shed-project/paulcollard/

1.

Yi-Fu Tuan (1972), Topophilia: a study of environmental perception, attitudes and values, p. 56.

Students from Bold Park Community School at The Core exhibition, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 |

‘We LOVED the way this program was designed. The way that you introduced the space to the children, allowed them to explore the space with their whole bodies and led them on a collaborative learning journey.’ Participating teacher, 2016.

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The Goods Shed Creative Learning Expert Residency

PAUL COLLARD

in association with artists KARIM JABBARI,

Tunisia

Y A M I N A Y C H A U D H R Y , Pakistan PAUL GORMAN,

United Kingdom

Annual Report | 2016 | The Goods Shed

FORM’s Creative Learning program’s first expert-in-residence, based at The Goods Shed, was Paul Collard. Chief Executive at the UK’s Creative Culture and Education (CCE), Paul is responsible for delivering of over £50 million of government cultural education programs each year. For a month, Collard partnered with The Goods Shed’s artists-inresidence to give a range of workshops that responded to curriculum-based concerns and training needs, and were accordingly tailored for schoolchildren, teachers, and artists and educators.

Each of the artists who partnered with Collard in delivering the workshops brought a unique set of experiences and perspectives. Tunisian artist Karim Jabbari was able to interact with the students in Arabic as well as English as he shared his dramatic ‘lightgraff’ skills. Yaminay Chaudhry (based in Karachi, Pakistan) came from the Tentative Collective, a group of people who share resources to create collaborative works of art in everyday urban spaces. Scotsman Paul Gorman from Hidden Giants brought a performative, improvisational approach to the workshop experience.

The residency also incorporated free public events. Paul Collard talked about ‘Creative DNA: Jobs for the future’, followed by a unique live light calligraphy performance by Karim Jabbari. Collard also gave a talk for parents, ‘How can we help our children do well in school?’ while Yaminay Chaudhry and Paul Gorman delivered presentations about their respective artistic disciplines and their experience as artists within educational settings.

For a detailed report on FORM’s Creative Learning program, visit: www.form.net.au/goods-shedproject/paul-collard/

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‘We need more opportunities to have conversations and experiences like this with a wider educational community than our own schools.’ Workshop participant, 2016.

Above: Students from Bold Park Community School entering The Goods Shed, August, 2016. Photograph by Bewley Shaylor, 2016.

Right: Paul Collard and Yaminay Chaudhry. Photograph by Lamis Sabra, 2016.

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Annual Report | 2016 | The Goods Shed Clockwise from top left: Students from Bold Park Community School with Paul Collard, August, 2016. Photograph by Bewley Shaylor, 2016.

Paul Collard with students from the Australian Islamic College, August, 2016. Photograph by Lamis Sabra, 2016.

Paul Gorman. Photograph by Bewley Shaylor, 2016.

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‘Learning is not fragmented. John Dewey describes learning as a wave that crashes and forms into a new one, it never truly ends, it just continues in another form. This idea of experiential learning is crucial to my practice. All learning is interdisciplinary as everything is connected. It is impossible to separate the trees from the sky, the self from the community, the mathematical equation from the poem. We need to nurture openness and curiosity.’ Paul Gorman, 2016.

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Left: Karim Jabbari during a calligraphy workshop at The Goods Shed, August, 2016. Photograph by Bewley Shaylor, 2016.

Below: Karim Jabbari’s light painting in The Goods Shed, August, 2016. Photograph by Bewley Shaylor, 2016.

Annual Report | 2016 | The Goods Shed

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THE CORE

The Goods Shed’s inaugural exhibition, The Core, was also an Australian debut for an acclaimed calligrapher and mural artist from Tunisia. Karim Jabbari was nominated in 2015 by the International Award for Public Art as one of the top 30 public artists in the world.

He is celebrated for his distinctive work, a kinesis of shapes, colours, and ancient Kufi script sculpted from light and captured in time-lapse photographic stills or video. Jabbari developed work for The Core while in Albany as part of PUBLIC Art in the Great Southern. He collaborated with Western Australian creatives Bewley Shaylor (photographer), Chad Peacock (filmmaker), and FORM staff to create unique and ephemeral light calligraphy artworks at iconic Great Southern locations.

The Core’s public program offered workshops in ancient calligraphy techniques and light calligraphy photography, including time-lapse capture skills. On August 24, FORM staged a free public event that perfectly articulated the identity and purpose of The Goods Shed. It was an amalgam of talk and performance, learning and aesthetics, concepts and demonstration: a hybrid event linking incoming expert-in-residence Paul Collard and outgoing Tunisian calligrapher and artist-in-residence Karim Jabbari. In their own ways, both Collard and Jabbari drew on ancient traditions and established wisdoms, and refracted them through modern technology and new intelligence.

Karim Jabbari’s live light calligraphy performance in The Good Shed, August, 2016. Photograph by Bewley Shaylor, 2016.

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I AM…HISTORY I AM…STORY I AM...ALIVE Annual Report | 2016 |

When it comes to Karim’s performance, it is as if he has heard The Goods Shed itself speak. Using his unique choreography-meets-calligraphy approach, he spells out its utterances in light. During a mesmerising hour-long performance of light graff, movement and music, the space—the interface— between artist and audience becomes the ‘page’ where Karim writes “I am history, I am story, I am alive.” While the bell-like sound of a hang (or hand-pan) blooms from the fingers of musician Sam Maher, dancer Taryn Runkel holds LEDs aloft and makes patterns with light and limbs as she whirls across the performance space. Then Karim takes centre stage, carving the darkness into Arabic and English script. Several times, Taryn returns, stops and poses, and Karim creates prisms and waves of colour around her motionless silhouette.

All this action, all these words are captured in time-lapse and projected onto a big screen. The Goods Shed holds the moment.

‘My Albany trip was a way for me to explore a remote part of the world I always dreamed of. I tried to go deep and dig hard to unveil the hidden beauty of the region. I used my light to help me explore the best way possible to show the hidden beauty of the region that most of the people don’t have the chance to see.’

Karim Jabbari, 2016.

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WORN LAND

Annual Report | 2016 | The Goods Shed

Worn Land: Four contemporary jewellers in the Pilbara, a collection of jewellery responding to the Pilbara landscape, featured the work of renowned Melbourne-based jewellers Yuko Fujita, Nicky Hepburn, Pennie Jagiello, and Natalia Milosz-Piekarska. The artists, who were chosen because of their unique approaches to materiality, storytelling, found objects, and texture, developed this work over three years. Their process incorporated research visits to the Pilbara, and creative exchanges with local Aboriginal and nonAboriginal people via residencies in Hedland and Roebourne.

Worn Land, which opened in September, explored the disorienting intersection of desire and displacement that can accompany an experience of place. An extensive and well-attended public program accompanied the exhibition, and included workshops in object-making, perfume and basket-making, curator and artist talks, and discussion panels exploring the ideas evoked by the artists’ experience and work.

Worn Land will show in the Pilbara in early 2017, and a national tour is currently being scoped.

Clockwise from top left: The long drive home (bracelet), Natalia Milosz-Piekarska, oxidised sterling silver, paint, 2016. Photograph by Bewley Shaylor, 2016.

Under the weeping paperbark (necklace), Natalia Milosz-Piekarska, oxidised sterling silver, paint, 2016. Photograph by Bewley Shaylor, 2016.

Salt (ring), Natalia Milosz-Piekarska, oxidised sterling silver, paint, 2016. Photograph by Bewley Shaylor, 2016.

Strata (ring), Natalia Milosz-Piekarska, oxidised sterling silver, paint, 2016. Photograph by Bewley Shaylor, 2016.

Partial view of Worn Land exhibition installation at The Goods Shed, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 | The Goods Shed

‘Having just travelled through the landscape in which the artists were inspired I can feel the memories from my own experience viscerally.

An excellent interpretation of an ageless landscape.’ Survey respondent, 2016.

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Clockwise from top left: Coral, Nicky Hepburn, red coral, sterling silver, 2016.

Coral, Nicky Hepburn, white coral, sterling silver, 2016.

Grey coral, Nicky Hepburn, grey coral, sterling silver, 2016.

Crab 1, Nicky Hepburn, crab leg, sterling silver, enamel paint, 2016.

Shells and Hearts, Nicky Hepburn, 3 stack ring, shell, heart urchin fragments (Spatangoida), sterling silver, 2016.

Crab 2, Nicky Hepburn, crab claw, sterling silver, enamel paint, 2016.

Crab 3, Nicky Hepburn, crab body, sterling silver, enamel paint, 2016.

Fossil, Nicky Hepburn, fossil, sterling silver, 2016.

Sand Dollar, Nicky Hepburn, sea urchin (Clypeasteroida), steel, 2016.

Photograph by Bewley Shaylor, 2016.

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Left: Partial view of mischer’traxler studio: LeveL and volumes exhibition installation at The Goods Shed, 2016. Photograph by Bewley Shaylor, 2016.

Below: curiosity cloud - chandelier, mischer’traxler studio, mouth-blown glass bulbs, metal hoods, motors, LEDs, custom made circuit boards, ultrasonic-sensors, various mechanical pieces, artificial handcrafted insects made out of printed and laser-cut foil adapted with felt, threads, hot glue and colour, 115cm x 80 x 180cm, 2015/2016. Photograph by Bewley Shaylor, 2016.

Annual Report | 2016 |

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MISCHER’TRAXLER STUDIO:

LEVEL AND VOLUMES

A spectacular suspended lighting installation that dimmed and brightened depending on spectator interaction was the centrepiece of a truly magical experience rounding off the 2016 exhibition program at The Goods Shed. mischer’traxler studio: LeveL and Volumes was the work of acclaimed Austrian design duo Katharina Mischer and Thomas Traxler. In this, their first visit to Australia, the couple offered a fusion of beauty with kinetic technology, perfectly complemented by The Goods Shed’s lofty and atmospheric interior.

Unusually for FORM, the exhibition showed pre-existing rather than specially commissioned work, its centrepiece having been produced for the inaugural London Design Biennial in September 2016. However, the chance to give their work its southern hemisphere premiere was irresistible.

Following the exhibition launch, the pair travelled for two weeks to the Great Southern, where they presented a five-day masterclass to a diverse group of creatives, and began investigating the production of a new body of work in response to the region’s spectacular landscape and rich ecological diversity. These outcomes will showcase in an exhibition at The Goods Shed in 2018, and later in Albany.

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Annual Report | 2016 | We are the LIGHT, Karim Jabbari, giclee print, aluminium mounted, 100 x 150cm, from The Core, 2016. Photograph by Bewley Shaylor & Chad Peacock, 2016.

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STUDIO PRACTICE and

RESIDENCIES

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Annual Report | 2016 |

‘BRILLIANT! LOVE THE THOUGHTFULNESS AND BALANCE. LOVE THE MERGE OF NATURE AND TECHNOLOGY. BEAUTIFULLY PUT TOGETHER.’ Survey respondent, 2016

limitedmoths - Marumba quercus, mischer’traxler studio, mixed media, 2008 - 2009, from mischer’traxler studio: LeveL and volumes, 2016. Photograph by Bewley Shaylor, 2016.

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MISCHER’TRAXLER fantastic realities in The Great Southern

Katharina Mischer and Thomas Traxler are mischer’traxler studio, one of Europe’s leading design studios, based in Austria. In December 2016, they staged their debut Australian exhibition LeveL and volumes at The Goods Shed, and then undertook a residency in Western Australia’s Great Southern region.

Annual Report | 2016 | Studio Practice and Residencies

Over a fortnight they toured the Great Southern’s galleries and monuments, its wind farms, salt lakes, coastline, and mountains.

While in Albany they presented a fiveday masterclass,― fantastic realities, ―to 23 selected creatives and designers. Modelled on their acclaimed Vitra Design Museum Domaine de Boisbuchet workshop from 2014. fantastic realities challenged participants to produce tangible responses to the Albany environment. Discussions, brainstorming, practical experience, and research produced a range of outcomes from ephemeral sculptural installations and kinetic public artworks to a cake designed specifically for Albany.

Outcomes of mischer’traxler’s residency will be exhibited as a bespoke body of work at The Goods Shed in 2018.

Top: Katharina Mischer and Thomas Traxler on their Great Southern residency, December, 2016.

Photograph by Claire Martin, 2016.

Right: Drawing time, for Liston Giordano, mischer’traxler studio, Perspex, wall, metal, motors, electronics, 2011. Photograph courtesy of the artists.

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‘I would like to thank FORM for bringing this workshop to the regions. Designers in regional communities struggle with professional isolation and the added costs of needing to go to a capital city for almost all professional development and networking.

I was very grateful to have been able to undertake such a high level masterclass in my home town. The opportunities to work intensively with other designers/artists from WA, explore familiar places through a fresh lens, get exposure to international design thinking, and have such a personal interaction with mischer’traxler was wonderful.’ Sally Malone, workshop participant, 2016.

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Annual Report | 2016 | Studio Practice and Residencies

“Inspiration will be drawn from the region’s uniquely dramatic environment and from descriptions of surreal-sounding places that trigger our imagination and ideas. Such places, which often have specific characteristics or host distinctive natural phenomena, will be the starting point for the workshop and will form the basis for tests, explorations, and experiments in various scale and possibilities. Creativity will be provoked by unfamiliar places, leading to unexpected starting points.” mischer’traxler studio

“mischer’traxler have shown me ways in which I can take and push my practice further. To use the big ideas I have, how to bring them to light and not let the technicalities stop me from taking it further. Anything is possible” Fantastic Realities, workshop participant, 2016.

Katharina Mischer and Thomas Traxler on their Great Southern residency, December, 2016. Photograph by Jake Cutler, 2016.

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Participants Alex Fossilo Alister Yiap Amber Perryman Anna Mulders Anne Grotian Anthony McEwan Carol Anne Cassidy Annual Report | 2016 | Studio Practice and Residencies

Claire Garcia-Webb Ellie van Rhyn Jennie Nayton Jennie Newman Kate Parker Kim Kirkman Nien Schwarz Penni Jongen Sutton Rebecca Corps Rhianna Pezzaniti Ruth Cripps Sally Malone Sharmila Wood Sharon Callow Tanya Van Irsen Valerie Schoenjahn

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•

Introduction by mischer’traxler studio

7th December 2016

•

Initial briefing | Selection of site

•

Initial workshopping in groups

DAY 2

•

Further development of initial concepts

8th December 2016

•

Group presentations of initial concepts

DAY 3

•

Site visits to Lake Seppings, the military bunkers, the Lighthouse Master’s House, the Gap and the Watertanks.

DAY 4

•

Revisiting initial designs, further refinement and development of design based on new information gathered on site

DAY 5

•

Final refinements to designs

•

Set up of exhibition in gallery space

•

Presentation of final designs

DAY 1

9th December 2016

10th December 2016

11th December 2016

All Photographs: fantastic realities masterclass in the Great Southern, 2016. Photographs by Claire Martin, 2016.

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PENNY COSS in the Pilbara

Annual Report | 2016 | Left: Penny Coss in Karijini National Park on her Pilbara residency, July, 2016. Photograph by Bewley Shaylor, 2016.

Right: Dark Matter, Penny Coss, acrylic on canvas, 130 x 152 cm, 2013. Photograph courtesy of the artist.

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Abstract expressionist painter Penny Coss explores transitory experiences of the natural landscape, through colour and gesture, transparency and layering. Recently she has begun incorporating a refined process of staining.

Coss is a leading Western Australian artist, and has had major commissions installed at Perth Airport and Crown Casino through FORM’s Public Art procurement.

As part of The Goods Shed’s regional residency program Coss went to the Pilbara in the middle of 2016. She undertook a series of research trips to Marble Bar, Dampier, and Karijini National Park as well as a stint at the Spinifex Hill Studios alongside its resident Aboriginal art collective. Her research was focused on developing new work in response to the landscape. The daughter of a geologist, Coss was particularly interested in researching the region’s ancient rocks, minerals and landforms, and she was keen to see asbestos in its (benign) natural form.

Coss’s Pilbara work will be exhibited in 2017.

‘The trips organised by [curators] Mollie Hewitt and Andrew Nicholls were invaluable. Their knowledge of the areas enabled access to the amazing landscape that would have taken me weeks to learn’ Penny Coss, 2016.

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CONSUELO CAVANIGLIA in the Pilbara

Annual Report | 2016 | Studio Practice and Residencies

‘Though I had been to the Pilbara a number of times previously I had never visited the sites that we travelled to as part of the residency. The research has been highly productive and has significantly added to my understanding of a range of things that I pursue in my work, such as colour, light, and space. The Pilbara is a unique place.’ Conseulo Cavaniglia, 2016.

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Sydney-based Western Australian artist Consuelo Cavaniglia is an interdisciplinary artist whose work focuses on how space is seen and understood. Taking cues from film, photography, and architecture, her work employs technically simple visual effects to distort perception and unsettle the relationship between viewer and space.

The work alludes to spaces of the psyche rather than the concrete world.

Cavaniglia undertook a two-week residency with FORM in the Pilbara in 2016, to research and develop new work in response to the region’s unique light conditions.

Spending time in Port Hedland and Karijini National Park, Cavaniglia also gave a workshop in colour theory. Her residency coincided with that of fellow Goods Shed regional resident Penny Coss. Though working in two very different disciplines, Coss and Cavaniglia both respond directly to landscape, and create work that attempts to mimic fleeting environmental changes

and conditions.

FORM intends to unveil the residency outcomes as part of a group exhibition in 2017, possibly incorporating other landscape-inspired work from artistsin-residence in the Pilbara during 2016.

Opposite: from the distance a pool of light was not what it seemed, installation detail, Perth Institute of Contemporary Arts, 2015. Photograph by Alessandro Bianchetti, 2015.

Below: Consuelo Cavaniglia in Karijini National Park on her Pilbara residency, July, 2016. Photograph by Bewley Shaylor, 2016.

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PILAR MATA DUPONT in the Pilbara

Annual Report | 2016 | Studio Practice and Residencies

Perth-born, Netherlands-based multidisciplinary artist Pilar Mata Dupont works in video, installation, performance, and photography to create artworks which draw from cinematic language.

Using highly produced theatrical and filmic methods, she investigates ideas of nationalism, female identity, and mythology through the use of parable and allegory.

Dupont’s Pilbara residency took place in August 2016, and entailed visits to Port Hedland (Spinifex Hill Studios), Marble Bar, Roebourne, Cossack, Point Samson, Karratha, the Burrup Peninsula, and Millstream-Chichester National Park. Thanks to her engagement with local guide and Ngarluma and Yindjibarndi man Clinton Walker, and contingent upon all cultural protocols being observed and permissions granted, Dupont is being allowed to develop work in a site of great cultural significance to Yindjibarndi people. She will document a previously-unrecorded ceremony representing an opportunity for innovative, truly cross-cultural collaboration which also allows for the permanent recording of significant Aboriginal cultural material for the posterity of the Yindjibarndi community, Dupont will create film and sculptural works work for exhibition at The Goods Shed in November 2017.

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Right: Pilar Mata Dupont at Python Pool, Millstream Chichester National Park, on her Pilbara residency, August, 2016. Photograph by Mollie Hewitt, 2016.

Below: The Madman is a Dreamer Awake, Pilar Mata Dupont, Giclée print, 80 x 120 cm, 2013-15.

Photograph courtesy of the artist.

‘I found the day I gathered the most new information and insight was the incredible day Mollie and I spent with Clinton and Ken exploring Millstream-Chichester. We were given insight into the history of the area, and were also taken to spaces not normally shown on tours ... I learned that the creation stories and song lines that cover a lot of the Northern Territory going into the Eastern States began in the Burrup Peninsula, which I was fortunate enough to visit. I felt this was a particular space where I could see the juxtaposition of an ancient culture and new development in the form of the nearby liquid gas plant station, that is eerily audible (humming) throughout the walk through the carved rocks.’

Pilar Mata Dupont, 2016.

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BERNDNAUT SMILDE in the Pilbara and the South West

Annual Report | 2016 | Studio Practice and Residencies

Internationally celebrated contemporary artist Berndnaut Smilde lives and works in Amsterdam. He creates installations, sculptures, and photographs that aim to capture moments of revelation, and offer a critical approach to Western understandings of landscape in the Romantic tradition.

For his first Australian residency, FORM’s curators invited Smilde to create new works based on his practice of artificially creating and recording natural phenomena such as clouds and rainbows.

Smilde worked with local photographer Bewley Shaylor, and filmmaker Mike Fletcher to create new photographic works in evocative metropolitan locations including the East Perth Power Station and the Midland Railway Workshops. During his ten-day Pilbara residency he visited Karijini National Park, Port Hedland, Roebourne, Point Sampson, Cossack, Karratha, and the Burrup Peninsula, and remote towns including Tom Price, Parabadoo, and Marble Bar. Following his Pilbara residency, Smilde travelled to the State’s South West and created an experimental rainbow work at the Cape Leeuwin Lighthouse. He rounded off his visit with a well-received artist’s talk at The Goods Shed.

The outcomes of Smilde’s Western Australian residency will premiere at The Goods Shed in 2017.

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Berndnaut Smilde at work with Michael Fletcher in Joffre Gorge during his Pilbara residency, December, 2016. Photograph by Bewley Shaylor, 2016.

Pg 67 Nimbus Green Room, Berndnaut Smilde, digital C-type print, 125 x 170 cm, 2013. Photograph by R.J. Muna, courtesy the artist and Ronchini Gallery.

Annual Report | 2016 |

‘This was my first time to Australia and I didn’t know what to expect at all. I knew it was big, but I didn’t expect it to be this big … we’ve been driving for hours on roads with just nothing around, just … just emptiness and skies changing and that was quite intense…even the first day we were driving for six hours to get to the park … there was a storm coming up, and there were rainbows and wind, and the sky turned grey and yellowish, and it was really, really intense, and you feel kind of small in this landscape. I was invited by FORM to take on a residency in response to the landscape … normally in my practice I really react to spaces a lot, so I’ve always been working indoors, making clouds inside spaces. Since the nature is such a great part here, it’s just so overtaking, I wanted to react to the landscape in a way, by artificially imposing some clouds into the landscape.’

Berndnaut Smilde, 2016.

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BEDAZZLE Photographing Western Australia’s Gold Towns

Artists THEA COSTANTINO REBECCA DAGNALL TARRYN GILL Annual Report | 2016 | Studio Practice and Residencies

Bedazzle – Photographing Western Australia’s Gold Towns presents a compelling exploration of the regional gothic by three leading Western Australian artists Thea Costantino, Rebecca Dagnall, and Tarryn Gill. Renowned for their narrative use of the photographic medium in exploring and critiquing Australian nationalism and post-colonial history, each artist wove a series of darkly humorous narratives around the notion of a culture obsessed with wealth from the ground.

The exhibition takes its inspiration from the iconic mining towns of Western Australia’s gold rush past, and its name from the Bobby Dazzler, a massive gold nugget discovered in Marble Bar in the 1890s. The artists undertook residencies in the Pilbara in March 2015, and the Kalgoorlie-Boulder area in March 2016, visiting WA gold towns Marble Bar, Kambalda, Menzies, Coolgardie, and the ghost town of Gwalia. The exhibition was officially opened

by Helen Carroll, Manager Wesfarmers Arts, Corporate Affairs in July 2016, and later toured to Port Hedland Courthouse Gallery.

A well-attended public program accompanied the exhibition, including a series of school visits, artist talks, workshops, and discussion forums. As part of the Social Impact Festival 2016, Bedazzle cocurators Mollie Hewitt and Andrew Nicholls conducted an exhibition walkthrough sharing insights into the background of the exhibition and its narratives.

Bedazzle toured to the Port Hedland Courthouse Gallery in October, 2016, and the Goldfields Art Centre, Kalgoorlie-Boulder in March, 2017.

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Top: The Gorge, Rebecca Dagnall, pigment print, 80 x 120cm, 2015. Photograph courtesy of the artist, 2015.

Left: Daughters of Midas 2, Thea Costantino, wax, synthetic hair, glass, hair slide, fool’s gold leaf, & wood, 35 x 30cm, 2016. Photograph by Bewley Shaylor, 2016.

92% OF SURVEY RESPONDENTS AGREED THAT BEDAZZLE WAS CAPTIVATING

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Annual Report | 2016 | Regional Residency

‘FANTASTIC WORKSHOP, LEARNT L O T S . L O V E D I T, THANK YOU.’ Survey respondent, 2016.

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DAVID CHARLES COLLINS in the Goldfields - Esperance

Photographic artist David Charles Collins was born in Perth, and is currently based in Sydney.

Over recent years he has gained growing national attention for his richly sensual photographic and video works that reference the aesthetics of high Renaissance painting to critically comment upon the hedonism, decadence, and apathy of his generation.

In late 2016, FORM commissioned him to create a new body of botanically-themed photographic work to support development of a potential wildflower-themed cultural trail through Western Australia’s southern regions. Collins travelled to the southern Goldfields-Esperance region, coinciding with the painting of CBH grain silos in Ravensthorpe by Amok Island, He presented a photography workshop to local residents, attended the Ravensthorpe Wildflower Festival, and travelled around the area to develop a new series of works focused on local orchids.

This series is currently in progress and will be exhibited at FORM Gallery in 2017.

Opposite: Work in progress, David Charles Collins, 2016.

Left: David Charles Collins photographing specimens from the Ravensthorpe Wildflower Festival on his Goldfields-Esperance residency, September, 2016. Photograph by Andrew Nicholls, 2016.

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Annual Report | 2016 | Chris Nixon, from PUBLIC Campus, 2016.

Photograph by Bewley Shaylor, 2016

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ART IN PLACE

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‘WHOSE PLACE IS IT ANYWAY? CURATORS NOT DICTATORS’

by Mags Webster, FORM

Annual Report | 2016 | Whose Place is it Anyway?

How does FORM bring creativity into community engagement? How do we measure ‘success’? The following article was commissioned by IN Place Magazine, December 2016, and formed the basis for FORM’s award-winning submission for the Place Leaders 2016 Awards.

The making of anything is always a work in progress, and leadership may often be way more successful when it’s hands-off rather than hands-on. Any efforts at economic, social, and cultural development must ultimately be rooted in the place’s people—its own ‘experts’—as it is they who will drive these efforts and build on them.

The great urbanist Jane Jacobs knew that a healthy dose of common sense, coupled with a playful and adventurous spirit, were as important to making good places as sensitive design and spatial harmony. The indispensable x-factor, however, came from the people who actually lived in these places.

‘People ought to pay more attention to their instincts’ - she argued. ‘There is an intuitive sense of what is right and comfortable and pleasant.’1

Independent Western Australian cultural organisation FORM has been endeavouring to lean into the practice ―rather than the theory― of curating space into place. The organisation focuses on the benefits that creativity and design can bring to every aspect of life, be it individual artistic excellence, creative learning, or community wellbeing.

There may well be a ‘theory of place-making’ which accommodates ideas of community, audience, strategy, and metrics. But ultimately, it is people ―not ‘user groups’ ―who shape and enjoy our shared spaces. As Jacobs noted: ‘when a lot of experts say one thing, then people stop trusting themselves. This is a mistake. After all, everybody who lives in the city can be an expert about cities.’2

For FORM, place-making is less about ‘leadership’ and more about ‘curatorship’: setting the conditions for a framework that encourages people to partner in the activation.

FORM ultimately assumes a less obtrusive yet still intensively engaged role, stepping in to guide or refine the evolving process.

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For the past decade, FORM has worked with communities all over Western Australia, from Pilbara mining towns to remote Aboriginal settlements, from historical port cities to regional farming towns, and from Perth’s social housing projects and industrial heartland to the city’s white-collar western suburbs.

The organisation has aimed to respond to distinctive local conditions in each environment, while committing to a key aim: putting quality and creativity at the core of any collaboration with community.

As Executive Director Lynda Dorrington explains, FORM has a broad definition of creativity: “We are not thinking in silos about ‘arts’ or ‘culture’. Those indeed do belong within the breadth of what we understand to be creativity, and artistic and cultural outcomes are an important part of our remit; however, we are also thinking about problem-solving and ideas, inside and outside of boardrooms, galleries, schools, street corners, offices, parks, homes, neighbourhoods, democracies, societies, studios, labs, universities, cafés, bars, backyards.’

Humans are social creatures, we need places where we can ‘stumble on the fun’ as well as make meaningful connections.

When different people come together, ideas spark. Plenty of research all over the world has indicated that places that feel good to all kinds of people tend to attract diversity and talent, which in turn attracts more of the same, and these factors contribute to a place’s economic and social success. These places belong to everyone, or at least they should feel as if they do.

PUBLIC Platform, April, 2016. Photographs by Jean Paul Horre, 2016.

1.

2016. Jane Jacobs: The Last Interview and Other Conversations. Brooklyn, NY: Melville Press p 8

2.

Ibid.p 8.

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Annual Report | 2016 | Whose Place is it anyway?

Community Curatorship in the Pilbara and in Perth

a context for social and cultural interaction in an environment where culture came low in the list of community priorities.

The Pilbara town of Port Hedland ―in annual tonnage terms ―is the largest port in the world, with the region accounting for 35% of the planet’s entire iron ore output. Although the Pilbara is nicknamed the nation’s economic powerhouse, its communities have arguably suffered from mining as much as they have prospered from it. The dominance of upstream and downstream resources production, serviced largely by fly-in, fly-out workers, has put pressure on sometimes fragile social infrastructure, and the remoteness of these towns has also affected people’s quality of life in negative as well as positive ways. Scarce amenities, transient populations, and an imbalance in earning power between Aboriginal and non-Indigenous people have all taken their toll. These are complex issues that cannot be turned around overnight, and which, when contextualised by the recent downturn in the resources industry, are not always within a community’s control, which is not to say that a little creative intervention cannot manifest a real step-change.

For FORM, the way forward lay in programming the gallery to the highest possible standards, starting with quality exhibitions, a thoughtfully stocked retail space, workshops with respected artists and photographers, and creative learning programs which ostensibly offered professional development but were also designed to get people to engage with each other while exploring their creative talents. In time, seasonal markets in the Courthouse grounds were added to the mix, and an historic old train carriage was converted into a café. Meanwhile, a nascent local Aboriginal art collective, initiated by FORM through a series of informal workshops back in 2008, was consolidated by the opening of purpose-built studios in South Hedland in 2014.

FORM’s Port Hedland involvement started in 2006. The organisation was invited by the local authority to partner with Hedland’s residents and local businesses in building a more cohesive sense of community, centred on the rejuvenation of an important but neglected cultural amenity, the Courthouse Gallery. FORM’s work started with the landscaping and ‘greening’ of the main streets, and the essential upgrade of the gallery building. Improving the physical appearance of the neighbourhood was however only the start. In a way, this was a proxy for the real challenge: how Hedland’s people would claim the space; how something like a gallery might create

Today, the Spinifex Hill Studios, the redeveloped West End gardens and landscaped cultural area which encompasses the Courthouse Gallery and the Port Hedland Visitor Centre (now also managed by FORM) are essential pieces of Hedland’s community infrastructure.

But it’s not only places that experience hardship that may benefit from culture and creativity as a place-making catalyst. Sometimes, quite affluent neighbourhoods can appear stagnant and lacking in community cohesion as people retreat into comfortable homes, or travel elsewhere to socialise or for entertainment. FORM recently relocated from its Perth city-centre offices to the white-collar suburb of Claremont. The reason was a rare opportunity to repurpose a unique building, the Goods Shed, ―into Western Australia’s newest creative project space.

This old freight storage facility is a rare heritage building in a great location blessed with excellent public transport access. FORM has set it up as a centre dedicated to welcoming local neighbourhoods, a hub for the wider

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metropolitan area, and a place that actively fosters global connections. The Goods Shed is a cultural facility that aims to open up new ways of thinking about place and communities, and to give rise to delight and discovery through new forms of artistic practice and ideas. It also happens to serve excellent coffee and snacks, via a ‘coffee pod’ on the premises, and offers an attractive space to hang out alfresco. The year-round program involves local and international artist and speaker residencies, which focus on the power of creativity to enrich the experience of place and people.

The Goods Shed opened in August 2016.

In its first two months alone it staged exhibitions, performances, workshops, and talks, and hosted book launches and private functions. Around 5,000 people came through its doors.

Measurements or Discoveries?

Are these successes? If they are, how does FORM judge success?

By trying not to think in terms of traditional ‘success’ at all.

That is not to say that measurement does not matter, it certainly does. FORM is rigorous in collecting data and feedback, with comprehensive surveying and documentation of all programs and events. This research informs future programming as well as providing critical intelligence (and evidence of outcomes) to funding partners. It is also crucial in helping FORM to fine-tune the nuances of the curatorial approach to place making.

As scientist Enrico Fermi once observed, with research ‘there are two possible outcomes: if the result confirms the hypothesis, then you’ve made a measurement. If the result is contrary to the hypothesis, then you’ve made a discovery.’ 3 The downside of thinking of things only in terms of success (or otherwise) is that it implies placemaking and community development can be reduced to a fixed goal, a box that can be ticked.

This is at odds with FORM’s curatorial approach to activation, which treats it as a dynamic, ongoing practice, responsive to the changing needs of the place and its people. In partnering with people and place, the only constant is unpredictability, so FORM relies on people—viewed as collaborators, not ‘audience’—to share what feels ‘right and comfortable and pleasant.’4 Research and on-the-ground experience powers FORM’s approach, plus the continual monitoring and evaluation of impact and quality.

What is needed at the outset of a community engagement may not be appropriate later on, so, FORM values measurement as a tool to support ongoing adjustment, rather than as an end in itself.

Research and observation give FORM the crucial information to determine what works in different settings and which strategies yield the best value.

The curatorial approach therefore requires a light touch. Shared wisdom. Asking questions. Taking risks. It asks people to take part in reimagining how things can be done, and having a vision or sense of direction that can be adapted, and which looks to a blueprint or a plan for support, not constraint. Curatorship is about sharing the responsibility― and the joy and excitement― of community-building and innovation with whomever lives, plays, and works in that space: the people who ultimately make it a place.

1.

2016. Jane Jacobs: The Last Interview and Other Conversations.

Brooklyn, NY: Melville Press p 8

2.

Ibid, p. 8.

3.

Jevremovic, Tatjana. 2005. Nuclear Principles in Engineering. 1st edition.

Springer Science & Business Media, p. 397.

4.

— 2016. Jane Jacobs: The Last Interview and Other Conversations.

Brooklyn, NY: Melville Press, p. 8.

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PUBLIC CAMPUS Curtin University, Bentley

7 DAYS

16 ARTISTS

Annual Report | 2016 | Art in Place

Curtin partnered with FORM to bring vitality to the campus on a massive scale.

FORM afforded Curtin the opportunity to work with world-class artists to showcase their work in an environment well versed in trying new things and experimentation.

Andy Sharp, Curtin University

‘The feedback from staff has focussed on how lively the campus has become and how many places on the campus have been significantly enhanced by the artworks.

‘They’ve also resulted in large numbers of people visiting the campus, some for the first time, which is always great to hear. Our aim is to simply make the campus much more attractive to visitors and the general public so they too can engage in the knowledge economy. It’s exciting to see things that are cutting edge and experimental.

The vision for Curtin is to transform into a contemporary, world-class knowledge cluster bringing together researchers, businesses and students. We see the campus being supported by all the urban amenity you would expect in any great urban city: cafes, food, recreation, residential, parks, and gardens and of course high-tech research with amazing businesses who are at the top of their game.

For any student and researcher this knowledge clustering is akin to a utopia in which we can participate for the benefit of all Australians.’

17 WALLS

Right: Untitled (background detail), Karim Jabbari, from PUBLIC Campus, 2016. Photograph by Luke Shirlaw, 2016.

Below: Untitled, HENSE, from PUBLIC Campus, 2016. Photograph by Bewley Shaylor, 2016.

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95%

Will be positive for future impact

92%

Had local impact.

88%

Enabled connection

survey respondents agreed that PUBLIC Campus...

‘Each year I have been involved I have come away feeling inspired, invigorated and excited to continue with my passions. It’s almost like traveling, meeting inspirational talented people from across the world, learning how they do things, sharing your ideas with them, bouncing off each other, but without having to leave the city, and that for me is what makes it so special.’

PUBLIC 2016 artist, Hayley Welsh, 2016.

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Annual Report | 2016 | 5Foot Way, performance by Mike Hornblow and Agung Gunawan, for PUBLIC Platform, 2016. Photograph by Jean-Paul HorrĂŠ, 2016.

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‘PLATFORM…WAS A GREAT CATALYST TO CHANGE THE WAY PEOPLE SEE THE TOWN CENTRE: A S P A C E F O R A R T, ENTERTAINMENT AND COMMUNITY GATHERING.’

Jock Barker, Mayor of Claremont, 2016.

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Annual Report | 2016 | Top left: Big Horn, Posit, 2016. Photograph by Bewley Shaylor, 2016.

Top right: Car Yard, Anna Chauvel, Shlomit Strum, Hans Oerlemans, Mike Rowlands, Tom Griffiths, Rob Grandison, Scott Rossiter & Theo Valentin. 2016. Photograph by Bewley Shaylor, 2016.

Centre: Urbantopia, Daniel Marano and Josie McGushin, 2016. Photograph by Bewley Shaylor, 2016.

Left: Colour Theory, Emma Vickery, Ash, Pederick, 2016.

Photograph by Bewley Shaylor, 2016.

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PUBLIC PLATFORM Prototyping Festival, Claremont

This prototyping festival―, an Australian first, ―turned the heart of Claremont into an interactive playground. Platform challenged artists, designers, architects, curators, lighting producers, sound producers, multimedia producers, digital artists, makers, chefs―, creatives of all kinds, ―to design and execute innovative ways to enliven Claremont’s Bay View Terrace and bring people together. Creatives proposed, designed, and fabricated a range of installations, which were showcased in the town centre over two perfect autumn days, for the enjoyment of the community.

2 DAYS

20

INSTALLATIONS

70 CREATIVES

12,000 VISITORS

‘Platform gave people a reason to ask questions, play in a public space, have fun, and participate outside of their daily routine. People really enjoyed the open space, free from vehicles, a place in which they could safely interact with their neighbours, friends, and family.

‘The partnership with FORM [is] a perfect fit for us. PUBLIC 2016 and Platform, combined with our own annual arts festival, was a great catalyst to change the way people see the town centre: a space for art, entertainment, and community gathering.’

Jock Barker, Mayor of Claremont

99%

OF SURVEY RESPONDENTS AGREED THINK IT’S IMPORTANT THAT IT’S HAPPENING HERE.

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PUBLIC FORUM Future Place

Continuing the conversations started at the PUBLIC 2015 Symposium, FORM featured six guest speakers from creative and leadership fields during PUBLIC 2016.

Annual Report | 2016 |

They included creative urban development expert Deborah Cullinan, the CEO of the Yerba Buena Center for the Arts in San Francisco, visionary Japanese architect Takaharu Tezuka, cross-disciplinary performance artist Mike Hornblow from New Zealand, urban artists Alex Brewer aka HENSE (USA) and Karim Jabbari (Tunisia), and finally, fresh from installing his signature work Field of Light at Uluru, Bruce Munro from the UK. Over two forums in front of rapt listeners at Claremont and Curtin, these inspiring speakers shared their specific viewpoints on the ways in which creativity, art, and design can devise better ways of living, working, and engaging as a global community.

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‘HOW IMPORTANT IT IS TO FEEL JOY IN PUBLIC SPACE. JUST TO BE ABLE TO STOP AND LAUGH, AND SEE SOMEBODY YOU DON’T KNOW HAVING A GOOD TIME AND HAVE THAT MOVING THROUGH YOUR DAY.’

Deborah Cullinan, 2016

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PUBLIC Art in the Great Southern

Annual Report | 2016 | Art in Place

The Great Southern knows how to put on a welcome. During a week in April 2016, in a partnership with the City of Albany, FORM deployed artists from Australia, Europe, Tunisia, and the United States alongside some of the region’s own creative talent. Their mission was to turn Albany’s York Street and surrounds into a permanent openair gallery, as part of PUBLIC 2016.

‘The city centre came to life and the after-party in the Town Square was a fantastic and fitting community celebration of the project. The level of community support and interaction with the festival was impressive and exceeded our initial expectations.

‘PUBLIC was a live demonstration of how art can bring people together. [It] brought an intense positive vibrancy to our CBD and has adorned our city with impressive splashes of colour and creativity that demand attention. It was fantastic to see the public reaction to the festival and the way so many people were interacting with the artists and wanting to learn or know more about them and their paintings.

98% OF SURVEY RESPONDENTS AGREED IT MADE THEM THINK DIFFERENTLY ABOUT PUBLIC SPACES

Untitled (detail), Add Fuel, for PUBLIC Art in the Great Southern, 2016. Photograph by Bewley Shaylor, 2016.

‘Individually, art is subjective and we all appreciate different artworks in different ways, but it inspires us to explore our feelings and thoughts and enlivens our imagination. To see this play out during PUBLIC in the Great Southern, the smiles it brought to so many faces, especially wide-eyed children, was uplifting. It brought so many people together: the business community, local government, residents, and tourists.’

City of Albany Chief Executive Andrew Sharpe, and Vancouver Arts Centre Coordinator Amber Perryman:

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PARTICIPATING IN PUBLIC

Art in The Great Southern Internationals Karim Jabbari (Tunisia) Add Fuel (Portugal) HENSE (USA) Borondo (Spain) Tellas (Italy)

Western Australians Stormie Mills Andrew Frazer Kyle Hughes Odgers VJ Zoo

‘How lucky Albany is to have been touched by such exciting artists: leaving us with artworks for us to continue to enjoy. Loved the injection of our local artistic talent too!’

Survey respondent, 2016.

Great Southern artists Darren Hutchens Chad Marwick Holly O’Meehan Jill O’Meehan John Carberry Lynley Campbell Nat Rad Serena McLachlan

Fearless, Borondo, for PUBLIC Art in the Great Southern, 2016. Photograph by Bewley Shaylor, 2016.

7 DAYS

17 ARTISTS

17

WALLS AND INSTALLATIONS

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PUBLIC Art in Ravensthorpe

CBH Silos painted by AMOK ISLAND

In 2015 Northam got giant art treatment. In spring 2016 it was the turn of Ravensthorpe, thanks to an ongoing partnership between FORM and the CBH Group.

Annual Report | 2016 | Art in Place

Three massive grain silos, chosen for their size, quality surface, and prominent South Coast Highway position now boast Six Stages of Banksia baxteri: a 162m long, 25m high mural created by Fremantle-based artist Amok Island. Banksia baxteri is a species only found between Esperance and Albany, an area falling into the Fitzgerald Biosphere, an area of internationally significant biodiversity.

The silos show different stages in the species’ flowering cycle, alongside its main pollinators, the Honey Possum and New Holland Honeyeater. Amok Island’s labours attracted widespread media coverage and attention, and provided a fitting backdrop to the annual Ravensthorpe Wildflower Festival. The Ravensthorpe community were also treated to an artist talk by Amok Island, hosted by the Ravensthorpe Regional Arts Council at the Town Hall. While the silo mural is the largest he has ever painted, Amok Island also produces exquisitely detailed, minimalist exhibition pieces, and FORM Gallery exhibited a series of these botanical paintings in October 2016.

The FORM and CBH Group partnership aims to develop a whole trail of silo art in Western Australia, to encourage tourism, celebrate the State’s agricultural economy, and draw attention to communities that are sometimes overlooked in preference for their larger neighbours.

Six Stages of Banksia baxteri (detail), Amok Island, for PUBLIC Art in Ravensthorpe, 2016. Photograph by Bewley Shaylor, 2016.

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Six Stages of Banksia baxteri (partial view), Amok Island, for PUBLIC Art in Ravensthorpe, 2016. Photograph by Bewley Shaylor, 2016.

31 DAYS

1

ARTISTS

338 LITRES OF PAINT

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PUBLIC Art in Ravensthorpe

FITZGERALD BIOSPHERE

Annual Report | 2016 | Art in Place

In conjunction with his silo murals, Amok Island also presented a sold out solo exhibition, titled Fitzgerald Biosphere, at FORM Gallery, Perth during late 2016. The exhibition was curated to showcase his recently-completed work in Ravensthorpe, and allow metropolitan audiences to engage with FORM’s broader regional programming.

The exhibition, opened by Hon. Brendan Grylls to an audience of over 200, showcased new work related to his silo commission, including a site-specific mural painted directly on the gallery wall.

Ravensthorpe is located within the Fitzgerald Biosphere, an area of internationally-significant biodiversity situated at the border of the Goldfields-Esperance and Great Southern regions. Like his silo mural, Amok Island’s exhibition works depicted a selection of flora endemic to the biosphere, which contains 20% of Western Australia’s native plant species.

The exhibition showed alongside Pilbarabased Doreen Chapman’s self-titled solo exhibition, and was accompanied by the films produced by FORM and Peacock Visuals showcasing the PUBLIC silo murals completed in Ravensthorpe and Northam over the past two years. The exhibition was very well received, and was a commercial success, with all works selling. In particular, one artwork was purchased by Turner Galleries for their Art Angels collection.

‘Love the graphic feel of the imagery. The video of the creation of the artwork on the grain silos was fascinating—gave an insight into how the work was created and the challenge of working at such a huge scale and probably awkward position. Loved the film's focus on the connections of the artworks to the flora and fauna of the surrounding countryside.

Fabulous quality and beautifully shot with vibrant colour.’

Survey respondent, 2016.

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Partial views of Fitzgerald Biosphere exhibition, Amok Island, FORM Gallery, 2016. Photograph by Bewley Shaylor, 2016.

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CHINATOWN

Annual Report | 2016 | Art in Place

Perth City’s Chinatown is at an important stage of regeneration, with significant investment in the Perth City Link and the ongoing renewal of Northbridge.

This provides the chance to reimagine Chinatown’s identity and increase its relevance for local residents and visitors to Northbridge.

The Chinatown infrastructure upgrades are a result of FORM’s ongoing partnership with the MRA, initiated with PUBLIC 2015 Art in Chinatown. After 11 international and national artists completed 13 murals in 2015, it was evident that Chinatown was due for a general makeover. A masterplan was designed to create a key destination at the Chinatown forecourt entry, drawing people into the space from significant pedestrian connections and encouraging further exploration of the area.

Upgrades include new street furniture and planting in the forecourt, lighting elements designed by local artists Alister Yiap and Geoffrey Drake-Brockman, and the commissioning of murals by local artists Ian Mutch, Stephen Baker, Fudge Works and Matthew Wong to complete the gallery of works in rear laneways.

These improvements emphasise the area’s multicultural heritage, increase levels of safety and give visitors reasons to linger.

Right: If people are of one heart event the yellow earth can become gold, Matthew Wong, mural for Chinatown Infrastructure Project, 2016. Photograph by Bewley Shaylor, 2016.

Below: Untitled, (L-R) Stephen Baker, Pastel, Bruno Booth, murals for Chinatown Infrastructure Project, 2016. Photograph

by Bewley Shaylor, 2016.

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Annual Report | 2016 |

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PUBLIC ART Putting vision into high visibility: FORM’s Public Art activities

Living with the River (detail), Ian Dowling for Crown Towers Perth, 2016. Photograph by George Apostolidis, 2016.

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PUBLIC ART

Perth Stadium. Crown Towers, Perth. The Airport. Elizabeth Quay. Karratha City Centre. All are prominent landmarks visited by people who might not ordinarily visit a gallery or pay much attention to art.

Annual Report | 2016 | Art in Place

Yet each of these places would be less compelling or memorable if they did not in some way reflect the creative spirit of human endeavour, or the cultural resonances and context of their site. The most tangible way of doing this is through public art.

Public art installations can polarise opinion.

Sometimes they delight, sometimes they puzzle. When they are at their best, it is often because they have been factored into the site design scheme and philosophy from the very beginning, have taken shape as part of an organic process which does not consider art or artists as a last-minute add-on.

Within FORM is a dedicated team, architecturally trained, which focuses on facilitating art in public spaces. This is a different programming stream to the PUBLIC urban art festival. Our Public Art Team engages in the competitive tender process on large projects, and works collaboratively year round with architects, developers, government, the private sector, and Australian and international artists to deliver site-specific works.

Untitled (detail), Alex Fossilo for Mill Point Road, 2016. Photograph by Bewley Shaylor.

Take Crown Towers, Perth, which opened to the public on 1 December, 2016. FORM devised the public art strategy, and oversaw the process from procurement to installation. This landmark development now features a spectacular showcase of 1,390 2D and 3D artworks. The strategy includes installations by emerging as well as established practitioners from a range of artistic disciplines, the project offering many the opportunity to push beyond the boundaries of their usual contexts and techniques.

Within our public art activities, as with other programs, we aim for a combination of artistic excellence and community development, with an emphasis on seeding contemporary, innovative, cross-disciplinary artistic practice. This program is also about creating more opportunities and employment streams for artists, while informing a stronger urban fabric that is enhanced by the integration of quality art and culture into the everyday experience of the public realm.

Supporting diversity and equal opportunity, we employ and work with a number of creatives from culturally and linguistically diverse backgrounds. We also offer assistance to firsttime and emerging public art applicants with their proposals and project management, and with our Land.Mark.Art program we support the development of Aboriginal artistic design for public art schemes. You can read more about this program on page 107.

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Perth Stadium

Kishorn Road

The Westadium (Brookfield Multiplex, Hassell and FORM) public art strategy provides a blueprint for the incorporation of public art as a facilitator of community engagement, cultural exchange, sporting exchange, creative expression, and place enhancement across the entire Perth Stadium and sport precinct.

The development proposed by Stirling Capital for Kishorn Road will provide space for an iconic artwork capable of articulating the development’s identity and creating a unique destination. In developing the art strategy, FORM identified two key curatorial themes: reinvention and momentum.

Reinvention speaks to the memories created by the local community, while momentum engages with the energy of the passing traffic on the nearby Canning Highway as well as the neighbourhood’s riverfront identity.

Annual Report | 2016 | Art in Place

Due to open to the public in early 2018, the Perth Stadium and Sports Precinct will feature artworks by 11 local artists, including 9 Noongar artists, as well as internationally acclaimed, UK environmental artist, Chris Drury, known for creating site-specific, nature-based sculptures.

Throughout 2016 FORM has worked closely with representatives from the Department of Sport and Recreation, Strategic Projects, Art Gallery of Western Australia, Office of the Government Architect, Department of Culture and the Arts, VenuesWest and the Whadjuk Working Party. Two procurement streams were developed for the artwork opportunities: one through the State Percent for Art Scheme, and one funded through the Project Sponsors. These two streams allow for a diverse mix of local and international, emerging, developing, and experienced artists to contribute to the Perth Stadium art program.

Tourmaline, Melissa Mladin for Crown Towers Perth, 2016. Photograph

by George Apostolidis, 2016.

Melbourne-based artist James Tapscott, the founder, director, and chief curator of Globelight, will create a kinetic lighting installation, using cutting-edge technology.

This simple, powerful and engaging piece will be one of the largest permanent lighting works in Western Australia. It is designed to provide evening activation by injecting light, movement, sound, and colour into the space to ensure the area is alive, interactive, evolving, and re-engaging and to increase feeling of safety for pedestrians.

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Living with the River, Ian Dowling for Crown Towers Perth, 2016.

Photograph by George Apostolidis, 2016.

570 William Street Fringe on William, at 570 William Street, will feature two large-scale artwork commissions by Perth-based artist Kyle Hughes-Odgers, who has exhibited and created public artwork throughout Australia and in the United States, London, Hong Kong, Singapore, Madrid, Berlin, and Cambodia.

The first piece is a dramatic 3D work comprising 60 individual steel panels mounted on the building’s façade. The panels feature abstract imagery inspired by the history of the area, and reference local architecture, homes, growth, gardens, community, memory, connection, and stories. The second is a 2D artwork featuring abstract grid-like patterns, painted with textural elements, which draws on the early mapping and development of the area.

The Bottleyard

Garden City

The Bottleyard in Northbridge is a highend multi-residential development, which will feature three works by international, national and local artists. Each work interprets the unique nature of the site, with a focus on the history of the Bottleyard and the native wildlife.

To guide the artists in their concepts, and to ensure that the work sits comfortably with the development’s design, FORM has identified two key curatorial themes: traces and home.

Perth’s most iconic shopping centre is heading for a makeover. Aiming to transform the retail, leisure, entertainment, and food offerings of Garden City, AMP Capital is planning its redevelopment. On completion, this complex will be Western Australia’s largest fashion and leisure destination, and public art will play a vital role in creating a bespoke, sophisticated environment for shoppers and visitors.

Belgian street artist ROA, responsible for a number of Perth’s most iconic murals, will complete a four-storey work within the courtyard of the development. Melbournebased artist James Tapscott is utilizing salvaged bottle fragments from the site for a bespoke louvered canopy at the front entrance. Finally, local street artists Fecks, Amok Island, and Kyle Hughes-Odgers will collaborate on a mural wrapping around two of the development’s main facades.

There are a number of artwork opportunities, and FORM has been appointed to develop the project’s public art strategy and curatorial framework in collaboration with Brisbane-based company Urban Art Projects. This will take a look at the broader vision for the Garden City art program, and flesh out the themes and narratives to be explored.

Stage, Waldemar Kolbusz for Crown Towers Perth, 2016. Photograph by George Apostolidis, 2016.

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Claremont on the Park With FORM’s headquarters now located in Claremont, it’s even easier for FORM to continue working with Mirvac’s residential development, the Grandstand and Reserve, within the LandCorp Claremont on the Park project. Western Australian artist Lorenna Grant has been contracted for two artwork opportunities, including bespoke, integrated screens and a wall-based entry sculpture. Grant works largely in the domain of public art. With a keen interest in natural/biological systems, she regards public environments, whether natural or built, as potential places of private transformation.

Karratha Health Campus Annual Report | 2016 |

Art not only contributes to social, cultural, emotional, and spiritual wellbeing but also has a considerable effect in promoting physical health and healing.

FORM is currently working with Brookfield Multiplex Constructions Pty Ltd and Cooper & Oxley Builders Pty Ltd on an art strategy for the Karratha Health Campus.

The public art strategy is underpinned by a culture of care for the whole person, an experience extending from patients and their guests, to workers within the building, and also to Karratha’s people, for whom the project will represent a landmark public amenity in their city centre.

The curatorial rationale for the project will focus on the above benefits, and encourage artists to focus on the Pilbara’s distinctive and celebrated ecology. Artworks may draw upon the region’s ancient landforms, famed coastline, or incredibly diverse flora and fauna, while also inviting artists to focus on ecological knowledge and the medicinal uses of native botanicals.

FORM will finalise the strategy and start the procurement process in 2017, with completion by mid-2018.

Left: Reverie of Land, Line & Form. Jennie Natton for Crown Towers Perth, 2016. Photograph by George Apostolidis, 2016.

Right: Colours of the Desert, Kate Dunn for Crown Towers Perth.

Photograph by George Apostolidis, 2016.

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Crown Towers Perth This extensive project has been underway since 2015, and was completed at the close of 2016.

FORM has worked closely with Crown Perth’s project team and the wider design team to create and deliver a unique art strategy, resulting in the procurement of an extensive Australian art collection for the development.

A total of 1390 artworks will feature throughout the public spaces and rooms within the towers.

This total comprises 11 3D artworks, 134 original 2D artworks, and 1245 reproduction artworks.

A unique variety of artists were engaged for the project, ranging from emerging to highly experienced, and each with their own unique approaches to their artistic practices and mediums.

All of the 36 artists are Australian, with 20 of these based in Western Australia.

The Crown Towers Perth artwork collection showcases contemporary Australian creative practice, and embodies Perth’s vibrancy and diversity, our unique natural environment, and our aspirations as a world-class destination. The collection’s thematic elements include: •

•

•

‘Water-lines’ - the river that snakes and traverses this country creating waterway catchments; ‘Terrestrial Wealth’, emphasising a vast ancient landscape with stunning world heritage listed sites; and ‘Natural Assets’, a State of expansive horizons, mineral wealth, and botanical diversity.

Some of the seminal original artworks created for the project include large exterior sculptures

by Johannes Pannekoek and Korban Flaubert, which greet patrons at the doorsteps. Dazzling mirrored facet works were created by Alister

Yiap for the Crystal Club. WA local Alex Fossilo created a bespoke timber wall artwork. Artists Jennie Nayton and Kate Dunn created seminal 3D ceramic works for the project. The largest of the ceramic artworks was created by Ian Dowling, and is located on the wall behind the reception desk on the Podium Level – it is impressively made of over 8,000 individual ceramic pieces.

A number of artists created a series of 2D works for the development, including photographer and digital artist Christian Blanchard, and established painters Penny Coss, Penny Bovell, Jo Darbyshire, Melissa Mladin, and Lisa Madigan. Works by Aboriginal artist Charmaine Pwerle from the Utopia region of central Australia feature in the Podium Level.

These are to only name a few of the stunning works commissioned and procured for Crown Towers Perth, all of which contribute towards a truly six star collection of art for the new development.

Founding Spinifex Hill Artist member Maggie Green working at the Studios, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 |

ABORIGINAL CULTURAL DEVELOPMENT

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LAND.MARK.ART

Annual Report | 2016 | Aboriginal Cultural Development

Land.Mark.Art (LMA) is a professional development program developed by FORM, and ongoing since 2010, which improves Aboriginal artists’ participation in public art initiatives. The first program of its type in the State, LMA is a structured mentorship process that enables the artists, many of whom come exclusively from painting backgrounds, to diversify their skills and evolve their works in to large scale, three-dimensional artworks. FORM puts around them a supportive network of curators, arts facilitators, designers, engineers, plus access to fabrication facilities.

This process opens up new pathways for artists to accept commissions and tender for significant public art opportunities, and benefit from the accompanying promotional, reputational and financial dividends. Under the traditional Percent for Art scheme in WA, most of the artists FORM is working with through LMA would not have been eligible for such opportunities.

Top left: Pilbara Waters, Merinda Churnside for Karratha Quarter, 2016. Photograph by Bewley Shaylor, 2016.

Top right: Pilbara Waters, Merinda Churnside for Karratha Quarter, 2016. Photograph by Bewley Shaylor, 2016.

Right: Moorumburri Yinda, Jill Churnside for Karratha Quarter, 2016. Photograph by Bewley Shaylor, 2016.

To date LMA has provided training to more than 70 artists living in Perth and the Pilbara and resulted in 43 public art commissions across Western Australia. $6.7 million has been invested into LMA commissions in the last seven years of development. The first major Noongar sculptural commission, First Contact by Laurel Nannup in Elizabeth Quay, has been installed in 2015, with more Noongar artworks due in 2017. FORM will continue to deliver this program in response to emerging public art opportunities throughout the State over the coming years.

Public art produced through the LMA program offers rich rewards for local communities: serving practical needs, adding interest and opportunities to interact with local places, and, through the creative expression of the artists involved, articulating important cultural stories, histories, and aspects of culture. It also contributes to the richness of Western Australia’s built environment, the visibility of Aboriginal culture in the State, as well as growth in Aboriginal artist employment and income.

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70 ARTISTS

$6.7 MILLION

INVESTED INTO LMA COMMISSIONS 2010-2016

43

PUBLIC ART COMMISSIONS SINCE 2010

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Annual Report | 2016 |

Quattro The Quattro Residential Development in South Hedland includes the first public artwork commissions by Spinifex Hill Artists Frank Footscray and Teddy Byrne. Both from a painting tradition, Footscray and Byrne undertook the Land.Mark.Art process, which assisted them in transforming their designs into three dimensions.

Byrne created an iterative design for an integrated balustrade, and Footscray designed a statement artwork to sit at the front corner of the residential development installed in 2016, both pieces draw on the curatorial premise that ‘water is the lifeblood of the people’.

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Karratha Quarter In 2014, Jill and Merinda Churnside attended a Land.Mark.Art workshop with FORM to develop artworks for a screen and canopy design for the new Karratha Quarter. Living in Roebourne and Karratha, both artists’ backgrounds respond strongly to the local Ngarluma Country.

In her design, Jill Churnside captures the sinuous lines of the river from an aerial perspective. In contrast to the imagery that is visible through satellite cameras, her artwork radiates a warmth and familiarity with Country as it embraces the river.

The Country around the river blossoms into fields of exuberant colour, creating a quilt of forms and shapes that gently curve to nest against the other.

Merinda Churnside describes her design for the shade canopy as the ‘Pilbara Waters’, where there are fishing grounds and camping sites well known to the Pilbara people.

Flooded River, a cast bronze sphere by Wendy Warrie, and Roots and Seeds, a series of bronze and aluminium sculptures by Violet Samson, were all also installed within the Karratha Quarter precinct in 2016.

Perth Stadium Land.Mark.Art is supporting nine Noongar artists as they produce commissioned work for the Westadium (Brookfield Multiplex, Hassell and FORM) project. The precinct will be open to the public in early 2018.

Top: Moorumburri Yinda, Jill Churnside for Karratha Quarter, 2016. Photograph by Bewley Shaylor, 2016, Left: Flooded River, Wendy Warrie for Karratha Quarter, 2012.

Photograph by Bewley Shaylor, 2016.

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SPINIFEX HILL STUDIOS

Since 2008 FORM has managed and supported the South Hedland-based Spinifex Hill Artists (SHA) through substantial artistic and business development. The purpose-built Spinifex Hill Studios opened in 2014, thanks to a substantial investment by FORM’s regional partner BHP Billiton, and State and Federal Government.

Annual Report | 2016 | Aboriginal Cultural Development

From an operational perspective, SHA is heading into the next five years with a strong foundation. Equipped with a well-designed art studio space, diverse artist membership, an eclectic range of styles and a growing critical success, the artist collective has built a strong creative platform over the past three years.

The Studios also feature in the 2016 edition of Lonely Planet Australia.

Since moving into their new facilities, SHA has grown in three key areas- membership, artwork quality, and sales. From around 10 core artists in 2013, core membership has grown to around 40, with over 90 artists accessing the studios over the year. There is remarkable diversity within this group, with Kariyarra, Martu, Banyjima, Nyiyaparli, Yindjibarndi, Noongar, and Ngarla artists working regularly in the studios.

This is partly due to the establishment of the studio environment as a calm, safe, and neutral space, and also to improved relationships with local and regional stakeholders. The wider community has also embraced the studios as an important cultural asset, with regular Saturday Open Days giving opportunities for intercultural exchange and appreciation for the town’s vibrant and diverse Aboriginal cultures by the local Hedland community.

A key strategy has been to invest the most time and effort in developing the skills and education of artists with the most regular attendance (not necessarily artists with the rawest talent). This has resulted in the rapid development and advancement of beginner artists, and at the end of 2016 there is an evenness of quality across the group.

2016 was a breakthrough year in terms of exhibition exposure for individual artists and the group. Two artists, Winnie Sampi and William Nyaparu Gardiner were selected for the 2016 NATSIA ‘Telstra’ Awards at the Museum and Art Gallery of Northern Territory.

At the 2016 Hedland Art Awards William Nyaparu Gardiner won the ‘Most Outstanding Work’ and Doreen Chapman took out the ‘Kathy Donnelly Judges Award’. SHA also had two winners in the 2016 Cossack Art Prize in July, with Doreen Chapman taking out the Best Painting by an Indigenous Artist and Maggie Green winning the Best Artwork by a Pilbara Artist. In October, 34 artists contributed to Biggest Mob, the Spinifex Hill Artists’ group exhibition at the Port Hedland Courthouse Gallery.

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In addition to the Telstra NATSIA Awards in Darwin, SHA participated for the first time in the 10th Darwin Aboriginal Art Fair. Seven artists were showcased in Anything Colours at Paul Johnstone Gallery in Darwin, and three artists exhibited in Revealed 2016 (who also travelled to Fremantle Art Centre for three days of professional development workshops).

In October Doreen Chapman opened her debut solo exhibition at FORM Gallery, Perth, and five artists were selected for both the Cossack Art Prize and Mandjar Art Award, and nine for the 2016 Hedland Art Awards.

Finally, all artists have benefitted from better financial outcomes from artwork sales. Over the past three financial years, SHA has been able to increase both gross artwork sales and the average price point of artwork sales. In the 2016 calendar year gross artwork sales have improved again.

SHA participated in a variety of professional development workshops in a range of mediums throughout the year, including watercolour, drawing, soap making, and weaving. The Studios also hosted residencies for contemporary artists Penny Coss, Consuelo Cavaniglia, and Pilar Mata Dupont throughout July and September.

Artist Andrew Christie completed a residency and a community workshop in September.

FORM has secured funding from Department of Culture and the Arts for a large scale collaboration with Martumili Artists. 2017 is shaping up as another extraordinary year for the Spinifex Hill Artists.

Winnie Sampi painting at the Spinifex Hill Studios, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 | Aboriginal Cultural Development Charlie Njana working at the Spinifex Hill Studios, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 | Aboriginal Cultural Development

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Kurlkayima Ngatha

REMEMBER ME

Kurlkayima Ngatha - Remember Me was a creative project and exhibition that gave audiences an insight into Aboriginal people’s understanding of place through botany and methodologies of plant use. Developed in partnership with IBN Corporation, the project engaged Yinhawangka, Banyjima, and Nyiyaparli people, and also commissioned Eunice Napanangka Jack from Inkuntji Artists in Central Australia, Badtjala artist Fiona Foley, Italian cinematographer Giovanni Lorusso, and Western Australian botanical illustrator Philippa Nikulinsky to create new bodies of work. The exhibition featured these works alongside film, documentation, paintings, installation work, and botanical samples.

The project facilitated return trips to Country with Yinhawangka, Banyjima, and Nyiyarparli people who reconnected with memories of land through sharing, recording and documentation. Kurlkayima Ngatha – Remember Me was designed to honour traditional knowledge and present Aboriginal cultural values in an accessible and contemporary context. The exhibition was part of the broader outcomes of the project which included a publication that has been circulated amongst the Yinhawangka, Banyjima, and Nyiyaparli people and Aboriginal community in the Pilbara. A permanent record of Aboriginal plant names and ethno-botanical information, is an educational resource that inspires learning between cultures and generations and has been returned to the community. A number of participants have subsequently been inspired to participate in other cultural initiatives to preserve and promote and share this precious ecological knowledge.

Top left: Pontificate On This (detail), Fiona Foley, 66 cast aluminium eagle claw pipes, 13.5 x 3.5cm (each), 2016. Photograph by Bewley Shaylor, 2016.

Top right: IOU (detail), Fiona Foley, aluminium, ash, honey, 150 x 980cm, 2016.

Photograph by Bewley Shaylor, 2016.

Left: Wildflowers works by Philippa Nikulinsky, water colour and pencil on paper, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 |

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Partial view of Fiona Foley installation from Kurlkayima Ngatha - Remember Me exhibition, 2016. Photograph by Bewley Shaylor, 2016.

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DOREEN CHAPMAN

Doreen Chapman is one of Western Australia’s rising Aboriginal art stars. Her eponymous exhibition marked the first solo showcase of recent work for this acclaimed Manyjilyjarra artist, and ran at FORM Gallery alongside Fitzgerald Biosphere by nonIndigenous artist Amok Island.

Annual Report | 2016 | Aboriginal Cultural Development

Chapman established her practice with Martumili Artists and has been a key member of FORM’s Spinifex Hill Artists since 2013.

Dubbed the ‘fastest brush in the West’ thanks to her free-flowing and rapid brushwork, Chapman works a canvas at high speed, sometimes switching hands to maintain her frenetic pace. As a deaf woman, painting is an important means of communication for Chapman, providing vital insight into her experiences. She flew (for the first time) to Perth for the exhibition opening and installed a mural on the gallery wall commemorating her flight.

Though Chapman and Amok Island each have a very different aesthetic sensibility and relationship to landscape, the pair are linked by their vibrant pastel colour palette, the inspiration they draw from Western Australia’s regional landscape, and the humour and charm with which they capture the unique qualities of the State’s flora and fauna.

Untitled, Doreen Chapman, acrylic on canvas, 76 x 122 cm, 2015. Photograph by Bewley Shaylor, 2016.

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IN YOUR HANDS A Collaboration between Polyglot Theatre and Tjanpi Desert Weavers

Annual Report | 2016 | Aboriginal Cultural Development Top: Dianne Golding (r), Mollie Hewitt (l). Tjanpi Desert Weavers, Polyglot Theatre, and FORM, first workshop, Melbourne, 8th November 2016. Photograph by Theresa Harrison, 2016.

Bottom: Rainbow Sweeny, Mollie Hewitt, Dainne Golding, Kerz Lake, Nancy Jackson. Tjanpi Desert Weavers, Polyglot Theatre, and FORM, first workshop Melbourne, 8th November 2016. Photograph

by Theresa Harrison, 2016.

Centre: (cw from bottom left) Justine Warner, Rainbow Sweeny, Mollie Hewitt, Dianne Golding, Annieka Skinner, Nancy Jackson, Dallas Smythe, Tamara Rewse. Tjanpi Desert Weavers, Polyglot Theatre, and FORM, first workshop, Melbourne, 8th November 2016. Photograph by Theresa Harrison, 2016.

A unique cross-artform collaboration between FORM and two highly innovative Australian arts companies, Polyglot Theatre and Tjanpi Desert Weavers, embarked on its early stages of material and concept exploration in late 2016.

Though specialising in different disciplines, Polyglot Theatre (Australia’s leading practitioners of interactive and participatory theatre) and Tjanpi Desert Weavers (a collective of fibre artists from the Central and Western Deserts) are both internationally renowned for highly-engaging work that represents an innovative approach to the handmade. Working with FORM on this project, both organisations will explore new creative ground via a newlycommissioned performative installation for children and families.

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The Arts Law Centre of Australia has agreed to work pro-bono on the legal agreements and the management of Indigenous Cultural and Intellectual Property for the project.

This will assist Arts Law with their development of templates for legal agreements for collaborative projects between Aboriginal and nonIndigenous artists and organisations.

The project will premiere with FORM in late-2017 at The Goods Shed before touring nationally and to regional and remote communities, including Port Hedland.

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Port Hedland

COURTHOUSE GALLERY

Annual Report | 2016 | Creative Regional Communities

Over 2016, 24,688 people visited the Courthouse Gallery to attend nine exhibitions, creative business development workshops, artistic development workshops, after-hours events, markets, and festival programming. It is estimated the Courthouse Gallery returned nearly $230,000 to Pilbara and regional artists through exhibition and retail sales. A new stockroom initiative accompanied by an online sales portal and digital catalogues represented artists from eight regional and remote Aboriginal art centres, resulting in sales to both domestic and international collectors. This demonstrates the Gallery’s contribution to not only bringing creativity to the fore of community life in Port Hedland, but also generating significant economic opportunities for local artists and supporting a diverse local economy.

During the past year the Gallery also hosted a short film festival, art development workshops, children’s craft workshops, art dinners, and makers’ markets which catered to tourists from visiting cruise ships as well as the general public. As part of FORM’s audience engagement strategy, which was developed through the Australia Council’s Regional Audience Engagement Program, activities were held in Port Hedland, Karijini National Park, Marble Bar, Millstream, Newman and Perth to develop new audiences and create opportunities for the wider community to access the Gallery’s rich programming.

Wantili, Bugai Whyoulter, Martumili Artists, acrylic on linen. 107 x 152 x2 cm, 2016. Photograph courtesy of Martumili Artists, 2016.

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Douglas Kirsop’s

LIGHT ANGLES and

A DOT ON THE RUN

Annual Report | 2016 | Creative Regional Communities

Accomplished visual artist Douglas Kirsop’s exhibition Light Angles was the culmination of countless trips to the Pilbara region over the past 30 years. Kirsop typically uses oil and gouache to depict light and reflection and capture the hidden subtleties of the Pilbara. Accompanying exhibition a dot on the run, inspired by Paul Klee’s quote, ‘a line is a dot that went for a walk’, was a survey of works on paper by Western Australian artists. Following its inaugural year in 2015, the exhibition attracted 68 emerging, mid-career, and established artists including 14 local practitioners. The exhibitions were opened by the Federal Member for Durack, Melissa Price MP, and Chris Cottier, Manager Pilbara Communities BHP Billiton with the opening event attracting 350 people. Throughout their run, Light Angles and a dot on the run were attended by over 5,600 community members and visitors.

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Top: Light Angles exhibition opening night, February, 2016. Photograph by Bewley Shaylor, 2016.

Far left: Tiny Pieces (detail), Lia McKnight, graphite and ink on paper, 76 x 56 cm, from a dot on the run exhibition, February, 2016. Photograph by Bewley Shaylor, 2016.

Left: Floating Florals (detail), Melissa Lui Tuen, archival ink on watercolour paper, 42 x 60 cm, from a dot on the run exhibition, February, 2016. Photograph by Bewley Shaylor, 2016.

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Kurlkayima Ngatha

REMEMBER ME and

MY TOWN

Amanda Firenze Pentney

Annual Report | 2016 | Creative Regional Communities

After a successful debut in FORM’s Perth gallery, Kurlkayima Ngatha - Remember Me, travelled to the Port Hedland Courthouse Gallery. The exhibition explored Aboriginal knowledge and use of botany within the Pilbara region and offered opportunities for cultural maintenance and transmission. It was also the first time one of Australia’s most important contemporary Aboriginal artists, Fiona Foley, exhibited in regional Western Australia. Foley’s exhibition works were created in response to an artist residency where she travelled through the Burrup, Millstream-Chichester National Park, Weeli Wooli Creek, and Newman meeting traditional owners along the way. The exhibition shared space with long-time Hedland resident Amanda Firenze Petney’s solo exhibition, My Town, featuring lino prints of familiar Hedland scenes. The exhibitions were opened by Tony McCrae, CEO of IBN Corporation; Lorraine Injie, Chair of IBN Corporation, and Chris Cottier, BHP Billiton to an audience of 300.

Top: Our Beach (Sutherland Street Path) (detail), Amanda Firenze Pentney, hand coloured lino print, 75 x 38cm, from My Town exhibition, 2016. Photograph by Bewley Shaylor, 2016.

Centre: Who are You? (Boulevard Shopping Centre Carpark) (detail), Amanda Firenze Pentney, hand coloured lino print, 86 x 38cm, from My Town exhibition, 2016. Photograph by Bewley Shaylor, 2016.

Bottom: Audacity (Courthouse Gallery) (detail), Amanda Firenze Pentney, hand coloured lino print, 59 x 38cm, from My Town exhibition, 2016. Photograph by Bewley Shaylor, 2016.

Opposite: Windswept (detail), Janelle McCaffrey, archival ink on watercolour paper, 29 x 21cm, from Textures exhibition, 2016. Photograph by Bewley Shaylor, 2016.

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TALES FROM THE DESERT Tjanpi Desert Weavers

TEXTURES Janelle McCaffrey

THE PILGRIM Helen Komene

Tales from the Desert, by pioneering Aboriginal women’s social enterprise, Tjanpi Desert Weavers, used fibre sculpture to bring the artist’s vibrant stories from Ngaanyatjarra Pitjantjatjara Yankunytjatjara lands to life. The exhibition opening event was attended by 500 local community members and opened by Trish Barron, Director of People, Place, and Community for the Pilbara Development Commission,and Wendy Duncan MLA, Federal Member for Kalgoorlie. Tales from the Desert was supported by solo exhibitions by two Port Hedland-based artists, Helen Komene and Janelle McCaffery.

Komene’s exhibition, The Pilgrim, featured a series of photorealistic local landscapes rendered masterfully in pastels. Textures marked a major milestone in McCaffery’s career as her first solo exhibition, showcasing several years of artistic exploration of the Pilbara in charcoal, graphite, and ink. These three exhibitions attracted over 5,800 people during their run.

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Annual Report | 2016 | Creative Regional Communities Top: Billy-Nyundu Pijta, Ruth Leigh, acrylic on canvas, 91 x 91cm, 2016.

Winner of Best Work by a non-Indigenous Artist.

Photograph by Bewley Shaylor, 2016.

Left: Disco Cowboy, William Nyapuru Gardiner, acrylic on canvas, 91.5 x 61cm, 2016. Winner of Most Outstanding Work.

Photograph by Bewley Shaylor, 2016.

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2016

HEDLAND ART AWARDS

WINNERS Most Outstanding Work

$30,000 Nyapuru William Gardiner (Spinifex Hill Artists) Disco Cowboy

Best Work by an Indigenous Artist The Hedland Art Awards, Western Australia’s richest cash art prize, drew significant audience numbers from all over the region, demonstrating its prestige and meaning to Pilbara communities. A highlight of 2016’s award night was 72-year-old Aboriginal artist Billy Nyapuru Gardiner lifting his Akubra in delight at his $30,000 win for Most Outstanding Work. in 2016 70 works were selected for admission from more than 150 entries, with the artists competing for a share of the $100,000 awarded across nine categories. For the first time the application process allowed for only one work per artist, ensuring more artists could be represented in the curated exhibition. The judges, who commended the high quality of the artwork, were Aboriginal art expert Tim Acker and contemporary artists Thea Costantino and Pilar Mata Dupont.

For the second year running, the Hedland Art Awards opening night, attended by 500 artists, community members, and sponsors, also launched the North West Festival weekend.

$20,000 Lisa Uhl (Mangkaja Arts) Karrkapi

Best Work by a non-Indigenous artist

$20,000 Ruth Leigh Billy-Nyundu Pijta

Kathy Donnelly Judges Award

$10,000 Doreen Chapman (Spinifex Hill Studio) Untitled

Best Work in a Medium other than Painting

$8,000 (Split Decision) Ngarralja Tommy May (Mangkaja Arts) Wurna Juwal Michelle Siciliano Sometimes when everything just really gets too much.

The Best Sculptural Work

$8,000 Bruce Wiggin Four Islands

The Youth Award (under 25)

$2,500 Shennielle Sambo (Karntimarta Brush Artists) Nesting in Hedland

Encouragement Award

$2,000 Joshua Cocking Cause and Affect

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BEDAZZLE and

BIGGEST MOB

Annual Report | 2016 | Creative Regional Communities

The Pilbara’s Marble Bar, and the Goldfields-Esperance region was the focus of Bedazzle: Photographing Western Australia’s Gold Towns, an exhibition by three leading Western Australian artists who explored the State’s gold towns through a gothic lens. The exhibition toured to the Courthouse Gallery to complete the 2016 exhibition program alongside Biggest Mob, a collection of diverse works by the Spinifex Hill Artists.

See page 69 for more information on Bedazzle, and page 111 for more about the Spinifex Hill Artists.

The Biggest Mob artists in front of their live wall of painting, 2016. Photograph by Nils Friedrich, 2016.

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Douglas Kirsop painting workshop at Cooke Point, 2016. Photograph by Bewley Shaylor, 2016.

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Port Hedland

ARTS DEVELOPMENT WORKSHOPS

For the Port Hedland Courthouse Gallery’s exhibition program and the Hedland Art Awards, arts development workshops are critical to ensure that a high standard of local artistic practice is maintained and represented. This enhances Port Hedland’s reputation as a culturally rich destination and desirable place to live and work.

Annual Report | 2016 | Creative Regional Communities

Douglas Kirsop’s painting masterclass allowed participants to explore local landscapes through watercolour and refine their colour theory knowledge. A highlight of the workshop was en plein air experience whereby Kirsop invited participants to watch him create a new work in situ.

Linda Fardoe brought 20 years of experience as a visual artist and tutor to a drawing workshop that asked participants to leave their creative comfort zones. The workshop used a variety of materials to challenge participants to challenge their perceptions of drawing, and their expectations of artistic outcomes.

Photography workshops have become synonymous with the Port Hedland Courthouse Gallery after a nearly a decade of workshops and exhibitions exploring the possibilities of this artistic medium to document the Pilbara. The 2016 photography programming, with mentors Bewley Shaylor and Meleah Farrell, included a camp in Karijini National Park that encompassed both digital landscape and experimental abstract methods of image-making.

Additional arts development workshops were held as part of the Creative Business Development series (see next section).

Emma Davies weaving workshop at the Port Hedland Courthouse Gallery, 2016.

Photographs by Bewley Shaylor, 2016.

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WEST END MARKETS and

CREATIVE BUSINESS DEVELOPMENT

Annual Report | 2016 | Creative Regional Communities

Four times a year, between April and October, the West End Markets provide a marketplace for craft practitioners to connect with customers. Since 2010, the event has cemented itself in the community’s social calendar, and is a thriving community asset where residents and visitors come to Port Hedland’s West End to connect with each other, see local musicians perform, support local artisans achieving entrepreneurial success, and feel proud of Port Hedland. This year, the Markets supported 78 practitioners and local businesses and were attended by more than 12,500 people.

in new talent, and strengthen stallholders’ business skills, FORM holds a year-round program of support for local creative businesses. During 2016, the Creative Business Development Series held three intensive weekend ‘volumes’. They combined a holistic approach to creative enterprises development including practical business operation basics, marketing, social media engagement, graphic design, product photography, and hands-on making workshops. The craft workshop component featured paper making, leatherworking, and contemporary weaving.

The Markets have a history of offering added value and entertainment in performative art and pop-up restaurants and bars, and they specialise in highlighting native flora, fauna, and local produce. In 2016, FORM used the events as a platform to showcase contemporary craft practice in a hands-on way, to stimulate new interest and appreciation for handmade traditions and practices. FORM brought in several well-known Australian creatives as ‘ambassadors’ to promote craft practices: artists Consuelo Cavaniglia, Emma Davies, Lousie Snook, and Fiona Gavino, and leathersmith Rebecca Foggarty.

To keep product to a high standard, bring

To bolster the West End Market’s marketing activities, the West End Collective was launched in 2016 as a micro-site within FORM’s parent website. The web presence functions as an online business directory for small and micro Pilbara-based creative business and West End Markets stallholders. Search engine optimisation marketing and the leverage of FORM’s website’s organic traffic helps to strengthen the Pilbara’s creative profile nationally. To launch the site, and promote the region’s handmade products to a wider audience, the Courthouse Gallery hosted a West End Collective stall at Fremantle Bazaar, Perth’s largest handmade Christmas market.

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Top: West End Markets, August, 2016. Photograph by Bewley Shaylor, 2016.

Centre left: Ryan Stephenson’s workshop on logos and branding, Creative Business Development Series, Volume Two, 2016. Photograph by Bewley Shaylor, 2016.

Centre right: Tara Barchalk from Lavender and Lime Yoga at the June West End Markets, 2016. Photograph

by Bewley Shaylor, 2016.

Right: Consuelo Cavaniglia’s workshop on colour theory, Creative Business Development Series, Volume Two, 2016. Photograph by Bewley Shaylor, 2016.

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‘THANK YOU! I’M REALLY GRATEFUL TO HAVE ACCESS TO THIS SERIES, IT’S BEEN BRILLIANT.’

Creative Business Development Series participant, 2016.

Annual Report | 2016 | West End Markets, August, 2016.

Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 | Cruise Ship with passengers bound for the Cruise Ship Markets and the Visitor Centre, 2015. Photograph by Bewley Shaylor, 2015.

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PORT HEDLAND VISITOR CENTRE Cruise Ships, Tours, Pilbara Pathfinder

FORM’s involvement with the Port Hedland Visitor Centre commenced in December 2012 when we were awarded the management contract by the Town of Port Hedland. The refurbished Visitor Centre was opened in April 2013 and has since become an accredited Tourism Centre and a member of the Visitor Centre Association of WA. The Visitor Centre makes a personal connection with its visitors, offering them a personal experience; in 2016 we assisted over 25,000 visitors who gathered information, collected brochures, participated in our tours, and purchased souvenirs and keepsakes from their trip to Port Hedland. Throughout 2016 the Visitor Centre also promoted the Pilbara Pathfinder, a full colour publications produced by FORM for travellers wishing to explore the cultural and natural assets of the Pilbara. Toward the end of 2016, the second edition of the Pilbara Pathfinder was commenced for release in 2017. The Pilbara Pathfinder of FORM’s region-wide destination marketing for the Pilbara.

Throughout 2016 the Port Hedland Visitor Centre also ran a number of tours. Its ‘Discover Industry: BHP Billiton Iron ore Tour’ was well attended, with 1,551 visitors attending 51 tours. The ‘Discover Port Hedland: Historical Town Tour’ saw 164 visitors take 14 tours. In addition, in 2016 a new tour, ‘Discover Experience:Tales of Hedland’ where a local resident shares their knowledge of the town with visitors, was held 18 times between May and September with an average of 30 visitors attending each event.

In March 2016, representatives from the Town of Port Hedland and the Port Hedland Visitor Centre were present at the Caravan & Camping show at the Royal Showgrounds promoting Port Hedland and the regions attractions. The Port Hedland Booth was a great success, with an average of 600 people a day and 15,000 copies of the Pilbara Pathfinder circulated.

Throughout 2016, the Visitor Centre also serviced a number of cruise ships, offering a local market and cultural activities such as gallery tours, museum tours, live painting sessions with local Aboriginal artists, and a managed local experience. These experiences have developed the visits from the cruise ship into an important element of the tourism calendar.

The next stage for Port Hedland Visitor Centre and the broader Pilbara tourism network is to drive effective, targeted destination marketing, presenting the Pilbara as a region of choice, opportunity, and value to the Australian road-based market. FORM, through the Port Hedland Visitor Centre, is working with the other key Pilbara visitor centres to establish a Pilbara destination marketing strategy, including the refinement of the Pilbara Pathfinder, broader presence at the Caravan and Camping Shows, and a wider distribution of direct marketing materials to the roadbased traveller.

Berndnaut Smilde creating clouds outside Roebourne on his Pilbara residency, 2016. Photograph by Bewley Shaylor, 2016.

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Annual Report | 2016 |

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ORGANISATION

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EVALUATION

Annual Report | 2016 | Organisation

All of FORM’s programs and engagement strategies are supported by ongoing evaluation to ensure that our approach is effective and responsive. We develop custom evaluation frameworks for all projects of significance to grow the understanding and body of knowledge around key areas of importance for the creative sector and our delivery.

Additionally, in 2016, we formalised comprehensive surveying for artists and experts in residence, to capture and measure the influence and legacy FORM’s residency opportunities have triggered.

This is off the back of anecdotal feedback and observations about the significant effect that regional residency placements have had on artists’ practices and work.

FORM continues to employ the CultureCounts evaluation framework that was developed by the Department of Culture and the Arts, and was piloted with FORM in 2015. While the CultureCounts evaluation dimensions continue to be at the centre of all of FORM’s surveying, we have added further measurements in order to understand better the ways our venues and programming contribute to community vibrancy.

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

mischer’traxler studio: LeveL and volumes exhibition opening night, November, 2016. Photograph by Edwin Sitt, 2016.

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MEMBERSHIP

FORM achieved a 5.5% increase in membership in 2016 (to 530 members) on the strength of the opening of The Goods Shed and the public programs that accompanied the exhibitions. The largest growth area came from the metropolitan area, specifically Claremont and neighbouring suburbs. Perthbased members make up 66% of the total, regional members are 30% of our membership and the remaining 4% are from interstate and international locations.

FORM offers four types of memberships: concession, individual, practitioner, and corporate. A member receives access to FORM’s publications and research documents, a complimentary copy of one of our publications, invitations to FORM’s exhibitions and events, exclusive access to view and purchase works before the general public, as well as discounts and priority on workshops, ticketed events, and our retail spaces in Port Hedland.

This year we held member-only events both in Port Hedland and Perth to reward our supporters with exclusive opportunities to participate in our programs. Other member offers and incentives during 2016 include:

•

Invitations to talks by artists like Fiona Foley, Chris Drury, and Karim Jabbari, and discounts to industry talks and events staged by FORM partners in The Goods Shed

•

Discounted tickets to PUBLIC Forum

•

Priority places and discounts on workshops and masterclasses

•

Complimentary and discounted publications

•

Discounts on Creative Business Development Series at the Port Hedland Courthouse Gallery

•

Members’ Afternoon exclusive events at the Port Hedland Courthouse Gallery

•

Late night shopping events and first opportunity to purchase Arty Party tickets

For our practitioner members, FORM remains one of the most competitive and affordable options for makers’ product and public liability in Australia.

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MEDIA MARKETING and

COMMUNICATIONS

Annual Report | 2016 | Organisation

Communications Strategy

Social Media

FORM uses a variety of channels to communicate FORM’s activities.

These include traditional media releases, marketing, EDM, social media (our own platforms and through reaching out to our influencers), invitations, printed collateral, speeches and other presentations, and general events listings. When local and national media profile further afield is desired, the communications manager liaises with key national media such as ABC Radio National, ABC TV, The Australian, The Sydney Morning Herald, The Age, and The Guardian. Curators and project managers ensure projects are documented, and collaborate with the communications team to ensure appropriate photography, audio, and video content are planned for and provided.

At the time of writing FORM’s Instagram had 14,5 K followers: a steady increase of around 4500 followers since January 2016. Our Twitter had reached 2,967 followers and our Facebook reached 11,560 Page Likes. FORM’s strongest social network is our @formwa Instagram account, which increases daily in followers and averages several hundred likes per post. FORM has been rated 4.4 of 5 stars from 58 reviews Facebook, posts daily, and has created and shared 19 videos with our networks in 2016. In November, FORM was honored to be selected as the first of only 10 social media followers invited to run a social media ‘takeover’ of leading global online design community CODAworx. The opportunity emerged from a recognition by Wisconsin based CODAworx of the strength of FORM’s social media presence.

FORM has also been endorsed in 2016 by a raft of highly influential Instagram users including Perth Life, (108,000 followers), Streets of Perth ( 21,000 followers), Curtin University (16,000 followers), Feral Brewing (15,000 followers), Perth Street Art (12,000 followers), Yelp Perth (10,000 followers) and Scoop Digital (10,000 followers). Recent high profile features on our projects which attained great levels of social media engagement included a Buzzfeed Oz feature on PUBLIC Art in Ravensthorpe which gained 30,000 views and 57 shares and an ABC News feature on PUBLIC Art in Ravensthorpe, which had 98,000 views and 791 shares. The PUBLIC Art in Ravensthorpe Film gained 12,000 views and 250 shares on Facebook.

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FORM Website Virtual access and online information through our evolving website, supported by traditional and social media, has increased our reach and engagement.

FORM’s new Goods Shed website sholed an excellent bounce rate (the percentage of visitors to a particular website who navigate away from the site after viewing only one page) of just 37%.

All our websites have showed an industry average of two to three-minute average session time with Courthouse Gallery showing over three minutes average. Data from form.net.au sessions suggests that our average audience remains stable at 81,700. Our repeat visitor rate of 32% suggests FORM has a core and loyal following. Search engine optimisation analysis performing well based on industry metrics with an average form. net.au score of 83%. PUBLIC 2016 drove 16,000 page views, making it the strongest performing project of the year online.

‘It’s exciting to see these symbols of architectural success reinvented as giant canvasses attracting not only local but international attention. Following the success of the CBH Avon Silo project, we can all look forward to a new art landmark on the South coast.’

Western Australian Culture and the Arts Minister John Day, World Grain News, August 22.

‘Culture boosting public and commercial infrastructure projects, plus the work of some of the world’s most respected street artists now decorating laneway walls and nondescript buildings, and new life pulses in once forgotten spaces.’

Fleur Bainger, Jetstar Inflight Magazine, October Issue.

‘FORM’s Land.Mark.Art scheme helps local Aboriginal artists transform their traditional 2D works into largescale commissions, giving them greater exposure and opening new revenue streams. In six years, it has resulted in 30 commissions and generated $7 million for Aboriginal artists in WA.’ ‘Set up jointly in 2014 by BHP Billiton and Western Australia’s design innovation body FORM, Spinifex Hill

Charlotte Hamlyn, ABC News.

Studio is nurturing new generations of Pilbara artists…

FORM and BHP set up the lucrative Hedland Art Awards

‘The sheer scale, bold vision and evident

in 2012 to support and expand a local art industry in

tenacity of an organisation to successfully

regional Western Australia. Hedland art prize judge and

achieve such a well-designed strategy for

art curator Tim Acker says the Pilbara one day could rival

a state-wide project is an exemplar of true

the Kimberley as one of the great art regions of Australia.’

innovation and inventiveness.’

Victoria Laurie, The Australian, August 23, 2016.

Architecture and Design, 2016.

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‘THE CULTURAL LANDSCAPE OF WA HAS BEEN TRANSFORMED BY PROJECTS LIKE THIS… IN ITS CURRENT THREE-YEAR PUBLIC PROGRAM ALONE, FORM HAS Annual Report | 2016 |

BROUGHT TO REGIONAL TOWNS AND ABORIGINAL COMMUNITIES MORE THAN 200 ARTISTS WHO HAVE CREATED 166 ARTWORKS IN PUBLIC SPACES. IT HAS GARNERED MORE THAN $830,000 FOR THESE PUBLIC ART PROJECTS.’ Victoria Laurie, The Australian, July 30, 2016.

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SOCIAL MEDIA

MEDIA ACHIEVED

FORM

Monocle JetStar Inflight Magazine BuzzFeed Australia Graffiti Art Magazine Street Art Magazine Design Boom Art Collector Sunrise on Seven The Australian ABC News Australian Traveller CODAworx Broadsheet In Place Magazine InDesign The West Australian Business News ContemporaryAU The Urban List WorldGrain. Com Scoop Magazine Western Suburbs Weekly Open House Perth Urbanite Webzine Garland Magazine So Perth RTRFM Commercial Real Estate. Com ABC North West Radio The North West Telegraph The Albany Advertiser The Great Southern Weekender ABC Great Southern Radio Treff Yelp We Love Perth Weekend Notes X-Press Magazine Kalgoorlie Minor ABC Rural Online

Statistics for 2016

FORM’s Instagram followers increased from 9913 followers to 14, 500 Followers.

FORM’s Facebook followers increased from 9262 to 11,560 Followers.

FORM’s Twitter followers increased from 2602 to 2,967 Followers.

FORM has been rated 4.4 of 5 stars from 58 reviews on Facebook

A Buzzfeed Oz feature on PUBLIC Art in Ravensthorpe gained 30,000 views and 57 shares An ABC News feature on PUBLIC Art in Ravensthorpe gained 98,000 views and 791 shares.

The PUBLIC Art in Ravensthorpe Film, by Peacock Visuals gained 12,000 views and 250 shares on Facebook

Port Hedland Courthouse Gallery Facebook Likes increased from 1,877 to 2,415.

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PUBLICATIONS, FILMS, MULTIMEDIA

FORM produces high quality publications to accompany our programming that highlight and extend the reach of our research, process, and aesthetic outcomes.

Annual Report | 2016 | Organisation

In 2016, perhaps the most important was the Kurlkayima Ngatha - Remember Me publication, as it documented Aboriginal knowledges of botanical life in the Pilbara, including their food and medicinal uses.

Kurlkayima Ngatha - Remember Me not only functions as a record of knowledge with cultural importance for future generations, it also can educate nonIndigenous people on the richness of Aboriginal culture and understanding of botanical life.

The Worn Land exhibition catalogue featured essays by curator Mollie Hewitt, Mags Webster, and Dr Travis Kelleher, and recorded the process of making the exhibition as well as its aesthetic outcomes. The 2016 PUBLICation was also important in that it summarised the achievements of the festival over three years, and stands as a record of the remarkable array of urban artists who have participated in the project.

Substantial digital catalogues for Bedazzle - Photographing Western Australia’s Gold Towns, with an essay by the exhibition’s co-curator Andrew Nicholls, and for Doreen Chapman’s self-titled solo exhibition, featuring an essay by Spinifex Hill Studios Manager Greg Taylor, were made available to download from FORM’s website.

A number of short films detailing FORM’s residencies were produced in collaboration with Chad Peacock. Highlights included our films of PUBLIC Platform, PUBLIC in the Great Southern, Amok Island painting Banksia baxteri on the Ravensthorpe silos, and a film by Michael Fletcher providing highlights of Berndnaut Smilde’s Pilbara residency.

Access to all of FORM’s printed publications are provided free of charge to FORM members, and are available to purchase by non-members. FORM’s films are available to view on our Vimeo and YouTube channels:

Vimeo channel: vimeo.com/formwa

Youtube channel: bit.ly/1lAFMvw

Doreen Chapman catalogue: goo.gl/jGPqFC

Beazzled catalogue: goo.gl/UqEURM

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PUBLIC K U R L K AY I M A N G AT H A REMEMBER ME

Photographing Western Australia’s Gold Towns

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Rodrigo Cassini, graphic designer, Brazil Susanna Castleden, visual artist, WA Consuelo Cavaniglia, visual artist, NSW

CREATIVES ENGAGED

Miranda Cecich, creative business, WA Lance Chadd, visual artist, WA Robert Champion, visual artist, WA Doreen Chapman, visual artist, WA May Chapman, visual artist, WA Morag Chapman, visual artist, WA Nancy Chapman, visual artist, WA Roberta Chapman, visual artist, WA Eileen Charles, visual artist, WA Imelda Charles, visual artist, WA Yaminay Chaudhri, creative educator, USA/Pakistan

Annual Report | 2016 | Creatives Engaged

Tressina Abbott, visual artist, WA

Samantha Bell, photographer, WA

Anna Chauvel, installation artist, WA

Sean Adamas, installation artist, WA

Steve Berrick, creative technology, WA

Zabia Chmielewski, visual artist, WA

Add Fuel, street artist, Portugal

Jakayu Biljabu, visual artist, WA

Andrew Christie, visual artist, WA

Addam, installation artist, WA

Matt Biocich, photographer, WA

Jill Churnside, visual artist, WA

Daniel Aisenson, installation artist, WA

Jessica Black, installation artist, WA

Merinda Churnside, visual artist, WA

Kathy Allam, installation artist, WA

Shellie Blatch, creative business, WA

Joanne Ruth Clark, visual artist, WA

Leanne Allen, creative business, WA

Borondo, street artist, Spain

Anne Cleary-Farell, visual artist, WA/NT

Clara Allen, visual artist, WA

Cynthia Bourke, visual artist, WA

Nola Nelson Clinch, visual artist, WA

Kelvin Allen, visual artist, WA

Mick Bourke, photographer, WA

Lizzsara Allen, visual artist, WA

Anya Brock, street artist, WA/NSW

Louise Allen, visual artist, WA

Richard Brooks, creative business, WA

Rohanna Allen, visual artist, WA

Fiona Brough, creative business, WA

Royden Allen, visual artist, WA

Donovan Cedrick Brown, visual artist, WA

Leanne Ames, creative business, VIC

Selena Brown, visual artist, WA

Shiva Amir-Ansari, visual artist, WA

Jigadur Bumba, visual artist, WA

Amok Island, street artist, WA

Biddy Bunwarrie, visual artist, WA

Jordan Andreotta, visual artist, WA

Natalie Bunwarrie, visual artist, WA

Kelly Andrews, creative business, WA

Pauline Bunwarrie, visual artist, WA

Helen Ansell, visual artist, WA

Robert Buratti, visual artist, WA

Sohan Ariel Hayes, visual artist, WA

Danyon Burge, visual artist, WA

Carolina Arsenii, visual artist, WA

Victor Burton, visual artist, WA

Judith Aspro, visual artist, WA

Maringka Burton, visual artist, WA/NT

Maureen Aspro, visual artist, WA

Samuel Butcher, installation artist, WA

Hannah Atcheson, installation artist, WA

Teddy Byrne, visual artist, WA

Rodney Badal, visual artist, WA

Tanya Cain-Abbs, visual artist, WA

Stephen Baker, street artist, VIC

Sharon Callow, visual artist, WA

Topsy Bamba, visual artist, WA

Robert Cameron, installation artist, WA

Troy Barbitta, visual artist, WA

Cheyne Cameron, visual artist, WA

Tara Barchalk, creative business, WA

Jenna Campbell, installation artist, WA

Willarra Barker, visual artist, WA

Diane Campbell, visual artist, WA

Jeanne Barnes, visual artist, WA

Lynley Campbell, visual artist, WA

Beastman, street artist, NSW

Joanna Capelle, visual artist, WA

Ned Beckley, sound artist, WA

John Paul Carberry, visual artist, WA

Sarah Beek, installation artist, WA

Josh Casey, installation artist, WA

Stuart Bell, photographer, WA

Carol Anne Cassidy, visual artist, WA

Joshua Cocking, visual artist, WA Irene Coffin, visual artist, WA Paul Collard, creative educator, UK Clive Collender, visual artist, WA David Charles Collins, visual artist, NSW Rebecca Corps, visual artist, WA Penny Coss, visual artist, WA Thea Costantino, visual artist, WA Angela Cotterell, creative business, WA Nellie Coulthard, visual artist, WA/NT Jae Criddle, street artist, WA Ruth Cripps, installation artist, WA Sally Cruiskshank, creative business, WA Deborah Cullinan, speaker, USA Hayley Curnow, installation artist, WA Angkaliya Edie Curtis, visual artist, WA/NT Brooke Cuthbertson, creative business, WA Rebecca Dagnall, visual artist, WA Nisar Dar, installation artist, WA Melanie Dare, visual artist, WA Gennaro Dato, installation artist, WA Carla Davey, visual artist, WA Emma Davies, visual artist, VIC Edward Davies, installation artist, WA Annette Davis, curator/writer, WA Kelli Dawson, visual artist, WA Liam Dee, street artist, WA

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Tim Delaney, installation artist, WA

Sheila Kate Gardiner, visual artist, WA

Tanya Irsen, visual artist, WA

Layne Dhu-Dickie, visual artist, WA

Fiona Gavino, visual artist, WA

Mark Jabajah, visual artist, WA

Anne Dixon, visual artist, WA/NT

Ian Gear, visual artist, WA

Karim Jabbari, street artist, Canada

Sheen Dodd, visual artist, WA/NT

Jeannie George, visual artist, WA

Eunice Napanangka Jack, visual artist, NT

Jade Dolman, visual artist, WA

Nyarapayi Giles, visual artist, NT

Polly Jack, visual artist, WA

Jimmy Donegan, visual artist, WA

Sue Giles, performance artist, VIC

Nancy Jackson, visual artist, WA

Geoffrey Drake-Brockman, visual artist, WA

Tarryn Gill, visual artist, WA

Pennie Jagiello, visual artist, VIC

Chris Drury, visual artist, UK

Lorisa Ginger, visual artist, WA

Arnold James, visual artist, WA

Sonya Edney, visual artist, WA

Marissa Ginger, visual artist, WA

Sadie James, visual artist, WA

Toni Edney, visual artist, WA

Rebecca Glendinning, creative business, WA

Madlen Jannaschk, installation artist, WA

Kasumi Ejiri, creative facilitator, NSW

Dianne Golding, visual artist, WA

Daisy Japulija, visual artist, WA

Emile Elangovan, installation artist, WA

Paul Gorman, creative educator, UK

Ashvin Jeelol, visual artist, WA

Georgie Elfriede Brigette Morrison, visual artist, WA

Kylie Graham, visual artist, WA

Jesse Lee Johns, street artist, WA

Deanna Exeter, creative business, WA

Rob Grandison, installation artist, WA

Ian Jones, installation artist, WA

Linda Fardoe, visual artist, WA

Lorenna Grant, visual artist, WA

Mike Jones, installation artist, WA

Miranda Farmer, visual artist, WA

Sarah Green, creative business, WA

Thelma Judson, visual artist, WA

Peter Farmer, visual artist, WA

Maggie Green, visual artist, WA

Annegret Kellner, visual artist, Netherlands

Geoff Farquhar-Still, visual artist, ACT

Stuart Green, visual artist, WA

Gloria Kelly, visual artist, WA

Meleah Farrell, photographer, WA

Lucy Griffiths, community engagement, WA

David Kenworthy, visual artist, WA

Anne Farrell, visual artist, WA/NT

Tom Griffiths, installation artist, WA

Ida Kickett, visual artist, WA

Fecks, street artist, WA

Nick Grindrod, installation artist, WA

Robert Joseph Kickett, visual artist, WA

Tyson Feleke, installation artist, WA

Anne Grotian, visual artist, WA

Timika Kickett, visual artist, WA

Hannah Fick, installation artist, WA

Agung Gunawan, performance artist, Indonesia

Eleanor Killen, visual artist, WA

Amanda Firenze Pentney, visual artist, WA

Aimee Hall, installation artist, WA

Ray King, visual artist, USA

Hilda Flann, visual artist, WA

Shinnarne Hall, visual artist, WA

Alice King, photographer, WA

Annabella Flatt, visual artist, WA

Thomas Harman, visual artist, WA

Billy King, visual artist, WA

Lauren Fletcher, installation artist, WA

Wendy Hayden, visual artist, WA

Douglas Kirsop, visual artist, WA

Matt Fletcher, photographer, WA

Leanne Heenan, visual artist, WA

Helen Komene, visual artist, WA

Michael Fletcher, filmmaker, WA

Margaret Hefferman, visual artist, WA/NT

Eveline Kotai, visual artist, WA

Rebecca Fogarty, creative business, WA

Carol Henry, visual artist, WA

Nic Kotsoglo, installation artist, WA

Fiona Foley, visual artist, QLD

Natalie Henry, visual artist, WA

Jon Kuiper, visual artist, WA

Joan Foley, creative business, WA

Hense, street artist, USA

Rene Kulitja, visual artist, WA/NT

Frank Footscray, visual artist, WA

Nicky Hepburn, visual artist, VIC

Sonia Kurarra, visual artist, WA

Alex Fossilo, designer, WA

Geoff Hinchcliffe, data visualisation, ACT

Tegan Larkins, creative business, WA

Melissa Foster, visual artist, WA

Anisa Hirte, visual artist, WA

Jessee Lee Johns, street artist, WA

Yangi Yangi Fox, visual artist, WA/NT

Howard Holder, visual artist, WA

Ruth Leigh, visual artist, WA

Galvin Francicso, installation artist, WA

Jack Holmes, installation artist, WA

Travis Lilley, visual artist, WA

Sandra Francis, visual artist, WA

Bevan Honey, visual artist, WA

Benjamin Loaring, visual artist, WA

Andrew Frazer, street artist, WA

David Hooper, visual artist, WA

Jody Loaring, visual artist, WA

Lyndsay Freeman, creative business, WA

Stephen Hopper, botanist, WA

Sylvia Lockyer, creative business, WA

Suzy French, visual artist, WA

Mike Hornblow, performance artist, VIC

Marie Lockyer, visual artist, WA

Evelyn Froend, installation artist, WA

John Paul HorrĂŠ, photographer, WA

Kyra Lomas, installation artist, WA

Natasha Fry, creative business, WA

Jen Hourquebie, visual artist, WA

Marina Lommerse, installation artist, WA

Fudge, street artist, WA

Andrew Howe, installation artist, WA

Gabby Loo, visual artist, WA

Yuko Fujita, visual artist, VIC/Japan

Shanice Howell, creative business, WA

Giovanni C. Lorusso, cinematographer, Australia

Debbie Galvin, installation artist, WA

Kyle Hughes-Odgers, street artist, WA

Camilla Loveridge, visual artist, WA

Bill Gammage, writer, NSW

Kate Hulett, installation artist, WA

Nick Lowe, installation artist, WA

Claire Garcia-Webb, visual artist, WA

Darren Hutchens, street artist, WA

Chris Lubin, visual artist, WA

Crystal Gardiner, visual artist, WA

Effie Ireri, visual artist, WA

Tom Lucey, visual artist, WA

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Annual Report | 2016 | Creatives Engaged

Melissa Lui Yuen, visual artist, WA

Phillip Munda, visual artist, WA

Beryl Ponce, visual artist, WA

Dylan Lyneham, visual artist, WA

Jessica Munday, creative business, WA

Renee Porter, creative business, WA

Norma MacDonald, visual artist, WA

Djon Mundine OAM, artist, NSW

Hayden Pratt, creative business, WA

Molly Magit, visual artist, WA

Bruce Munro, visual artist, UK

Sam Price, animator, WA

Magnus Danger Magnus, performance artist, WA

Nada Murphy, visual artist, WA

John Prince Siddon, visual artist, WA

Tim Maley, visual artist, WA

Ian Mutch, visual artist, WA

Andrew Quilty, visual artist, WA

Jan Malkin, visual artist, WA

Katie Nalgood, visual artist, WA

Lorraine Rawlins, visual artist, WA

Sally Malone, visual artist, WA

Renata Nangagee, visual artist, WA

Nada Rawlins, visual artist, WA

Daniel Marano, installation artist, WA

Wendy Nanji, visual artist, WA

Fiona Reidy, visual artist, WA

Matteo Marchi, installation artist, Italy

Brett Nannup, visual artist, WA

Susan Respinger, visual artist, WA

Keely Markovina, visual artist, WA

Laurel Nannup, visual artist, WA

Tamara Rewse, performance artist, VIC

Mulyatingki Marney, visual artist, WA

Eunice Napanangka Jack, visual artist, WA

Alice Reynolds, installation artist, WA

Roberta Marney, visual artist, WA

Nat Rad, visual artist, WA

Jessica Richardson, installation artist, WA

Justin Marshall, musician, VIC

Nicola Nauman, creative business, WA

Shirley Riley, photographer, WA

Phillip Martin, visual artist, WA

Jan Naylor, visual artist, WA

ROA, street artist, Belgium

Jarrad Martyn, visual artist, WA

Jennie Nayton, visual artist, WA

Julie Rose, creative business, WA

Chad Marwick, street artist, WA

Natasha Nelson, visual artist, WA

Nick Rose, installation artist, WA

Wesley Tyson Maselli, visual artist, WA

Lucy Nelson, visual artist, WA/NT

Ninianne Rose, visual artist, WA

Pilar Mata Dupont, visual artist, WA/Netherlands

Nola Nelson Clinch, visual artist, WA

Danielle Ross, visual artist, WA

Filipa Matos, installation artist, WA

Jennie Newman, visual artist, WA

Scott Rossiter, installation artist, WA

Sally Matthews, visual artist, WA

Nancy Ngarnjapayi Chapman, visual artist, WA

Nick Roux, digital artist, VIC

Katherine Mattlock, creative business, WA

Tommy May Ngarralja, visual artist, WA

Thomas Rowe, installation artist, WA

Minaxi May, visual artist, WA

Viet Nguyen, creative business, WA

Mike Rowlands, installation artist, WA

Janelle McCaffrey, visual artist, WA/NT

Jenny Nichol, heritage interpretation, WA

Peter Rowlands, visual artist, WA

Carrie McDowell, visual artist, WA

Andrew Nicholls, visual artist, WA

Craig Rowles, photographer, WA

Anthony McEwan, visual artist, WA

Neil Nicholson, visual artist, WA

Pip Rundle, visual artist, WA

Emma McFarland, visual artist, WA

Philippa Nikulinsky, visual artist, WA

Rustam Qbic, street artist, Russia

Barry McGuire, visual artist, WA

Chris Nixon, street artist, WA

Jane Ryan, visual artist, WA

Josie McGushin, installation artist, WA

Charlie Njana, visual artist, WA

Azahra Sambo, visual artist, WA

Mark McKenna, installation artist, WA

Melissa North, visual artist, WA

Shennielle Sambo, visual artist, WA

Alana McKenzie, visual artist, WA

Taylah Nowers, visual artist, WA

Winnie Sampi, visual artist, WA

Lia McKnight, visual artist, WA

Jimmy Nukati, visual artist, NT

Janice Sandy, visual artist, WA

Serena McLauchlan, visual artist, WA

William Nyapuru Gardiner, visual artist, WA

Marisa Santosa, installation artist, WA

Lynette Mead, visual artist, WA

Luke O’Donohoe, street artist, WA

Angel Sawyer, creative business, WA

Victoria Midwinter Pitt, visual artist, WA

Hans Oerlemans, installation artist, WA

Lisa Scarfe, creative business, WA

Minyawe Miller, visual artist, WA

Marissa Oliver, visual artist, WA

Valerie Schoenjahn, visual artist, WA

Millo, street artist, Italy

Holly O’Meehan, visual artist, WA

Nien Schwarz, visual artist, WA

Stormie Mills, street artist, WA

Jill O’Meehan, visual artist, WA

Gabrielle Scott, installation artist, WA

Natalia Milosz-Piekarska, visual artist, VIC

Amna Omerhodzic, installation artist, WA

Valda Sesar, visual artist, WA

mischer’traxler studio, designers, Austria

Lauren Osborne, creative business, WA

Dave Sharp, installation artist, WA

Ben Mitchell, visual artist, WA

Ariane Palassis, visual artist, WA

Bewley Shaylor, photographer, WA

Eric Mitchell, visual artist, WA

Dorothy Papertalk, visual artist, WA

Luke Shirlaw, photographer, WA

Nic Monisse, installation artist, WA

David Dare Parker, photographer, WA

Bonnie Short, creative business, WA

Ronald Mosquito, visual artist, WA

Chad Peacock, filmmaker, WA

Pip Short, creative business, WA

Amy Mukherjee, visual artist, WA

Ash Pederick, installation artist, WA

Michelle Siciliano, visual artist, WA

Ingrid Mulder, visual artist, WA

Marianne Penberthy, visual artist, WA

Kathleen Simpson, visual artist, WA

Anna Mulders, visual artist, WA

Thalia Peterson, visual artist, WA

Madonna Simpson, visual artist, WA

Tom Mùller, visual artist, WA

Elricardo Phantasmo, visual artist, WA

Monique Simpson, visual artist, WA

Gracie Mulligan, visual artist, WA

Sarah Polly, visual artist, WA

Phillip Simpson, visual artist, WA

Pg 156

Renee Simpson, visual artist, WA

Justine Warner, performance artists, VIC

Edwin Sitt, photographer, WA

Joylene Warrie, visual artist, WA

Bronwyn Slater, installation artist, WA

Jo Wassell, visual artist, WA

Berndnaut Smilde, visual artist, Netherlands

Jaxon Waterhouse, installation artist, WA

Annabelle Smith, creative business, WA

Mags Webster, poet/writer, WA

Margaret Smith, visual artist, WA/NT

Hayley Welsh, street artist, WA

Andrei Smolik, installation artist, WA

Christine West, visual artist, WA/NT

Dallas Smythe, visual artist, WA

Karen Whitehead, creative business, WA

Louise Snook, visual artist, WA

Betty Whyoulter, visual artist, WA

Katrina Snowden, soapmaker, WA

Bugai Whyoulter, visual artist, WA

Spinifex Express, performance artists, WA

Cyril Whyoulter, visual artist, WA

Nick Statham, designer, WA

Bruce Wiggin, visual artist, WA

Ryan Stephenson, visual artist, WA

Lena Willalang, visual artist, WA

Ian Strange, visual artist, WA/USA

Laura Williams, visual artist, WA

James Strauss, installation artist, WA

Chris Williamson, visual artist, WA

Shlomit Strum, installation artist, WA

Kylie Wojciechowski, creative business, WA

Roderick Sturt, visual artist, WA

Matthew Wong, street artist, WA

Pennie Sutton, visual artist, WA

Reece Woo, installation artist, WA

Tjilkamata-Tjunkaya Tapaya, visual artist, WA/NT

Melissa Wood, creative business, WA

James Tapscott, visual artist, VIC

Gloria Woodman, visual artist, WA

Jillian Tarca, creative business, WA

Molly Woodman, visual artist, WA

Jon Tarry, visual artist, WA

Peter Woodman, visual artist, WA

Simon Taylor, visual artist, NSW

Karina Work, visual artist, WA

Greg Taylor, visual artist, WA

Angela Wulgarie, visual artist, WA

Muuki Taylor, visual artist, WA

Marjorie Yates, visual artist, WA

TayWolf, visual artist, WA

Alister Yiap, visual artist, WA

Tellas, street artist, Italy

Margaret Yuline, visual artist, WA

Emily Ten Raa, visual artist, WA

Billy Yunkurra Atkins, visual artist, WA

Takaharu Tezuka, speaker, Japan

Eunice Yunurupa Porter, visual artist, WA

Imogen Thomas, creative business, VIC

Nola Yurnangurnu Campbell, visual artist, WA

Biddy Thomas, visual artist, WA

Linda Zietsman, visual artist, WA

Bruce Thomas, visual artist, WA Jenny Thomas, visual artist, WA Paul Thomas, visual artist, WA Eileen Tinker, visual artist, WA Elizabeth Toby, visual artist, WA Robyn Todd, creative business, WA Hang Tran, creative business, WA Minh Tran, installation artist, WA Edoardo Tresoldi, street artist, Italy Romina Triboli, installation artist, WA Sangita Trivedi Daniel, visual artist, WA Lisa Uhl, visual artist, WA Theo Valentine, installation artist, WA Emma Vickery, installation artist, WA VJ Zoo, video artists, WA Narlene Waddaman, visual artist, WA David Walker, visual artist, NSW Maisie Ward, visual artist, WA

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BOARD MEMBERS REPORT For the year ending 31 December 2016

The Board Members present their report on the incorporated association for the financial year ended 31 December 2016.

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

Board Member

Expertise

Paul Chamberlain

Philanthropy, investment

Philanthropist, investor

Annual Report | 2016 | Board Members report

Lynda Dorrington

Office Chair

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

Executive Director FORM

Business, visioning & marketing

Ex-Officio

Rebecca Eggleston

Cultural programming, urban strategy & community development

Secretary

General Manager FORM

Tania Hudson Director Global Engagement Minderoo Group

Adam Zorzi Director Australian Development Capital

Peter Lee Director HASSELL

Communications & Social Impact, Partnerships

Natalie Dawson Director & Executive Consultant Focus Executive Management Consultants

(Appointed 2014)

Board Member

(Appointed 2011, resigned from Chair April 2014)

Property Investment & Development

Board Member

Architecture, design & place activation

Board Member

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

(Appointed 2010)

Management, strategy

(Appointed 2009)

(Appointed 2011)

Board Member (Appointed 2013)

Accounting & Finance

Treasurer

Strategic planning, government relations

Board Member

(appointed 2016)

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

Charlotte Hamlyn Journalist ABC News

Media & Communications

(Appointed 2016)

Board Member (Appointed 2016)

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Principal Activities

Proceedings on Behalf of the Association

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

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.

Operating Results The surplus for the year amounted to $264,926.00

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

Indemnifying Board Members FORM’s Association Liability insurance included coverage of the Board Members during the 2016 financial year. No indemnities have been given during or since the end of the financial year for any person who is or has been a Board member or auditor of the association.

Significant Events after the Balance Date

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.

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 2016.

Adoption of Australia Equivalents to IFRS

Likely Developments and Expected Results

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

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 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.

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.

Annual Financial Statements The 2016 Annual Financial Statements are contained in a separate document and are available upon request.

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Annual Report | 2016 | Katharina Mischer and Thomas Traxler of mischer’traxler studio on residency in the Great Southern, December, 2016. Photograph by Jake Cutler, 2016.

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FORM wishes to thank each and every person, organisation, agency, and company mentioned in this Annual Report, all of whom have made varied and valuable contributions to FORM’s projects in 2016.

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

Annual Report | 2016 | Thank you

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

Legal Partner

Programming Partners

Major Partner

Goods Shed Transformation Partner

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

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

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

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

Regional Programming Partners

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Specific Programs - Major Partners

Supporting Partners

Gallery and Presenting Partners

ABN Group

Amelia Park Wines

Alinta Energy

Australian Development Capital

Art Law Centre of Australia

CODA

Dorado

Five Senses

Hassell

GCS

Hawaiian

Goldfields Esperance Development Commission

Horizon Power

Little Creatures Brewing

IBN Corporation

Megavision Sound/Lighting

Pilbara Ports Authority

North West Telegraph Scott Print Spirit Radio Vancouver Arts Centre

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The Goods Shed

PARTNERS

Annual Report | 2016 | The Core exhibition opening night, August, 2016.

Photograph by Jessica Wyld, 2016.

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The Goods Shed has been transformed in 2016 by the generous support of many contributors. The partnership between FORM and LandCorp has given the building new life with the generosity of following companies contributing to the restoration. We gratefully acknowledge all who have contributed, in particular LandCorp for their underpinning support, the architectural vision by Cox Howlett & Bailey Woodland and its execution by Cooper & Oxley, with the garden made possible by Lotterywest and Environmental Industries.

The Goods Shed is being transformed by the creative partnership between LandCorp and FORM.

Building Transformation Partners

The Goods Shed Programming Partner

Presenting Partner This project has been assisted by the Australian government through the Ministry for the Arts’ Catalyst—Australian Arts and Culture Fund.

FORM Programming Partners FORM is supported by the Visual Arts and Crafts Strategy, an initiative of the Australian State and Territory Governments.

Hospitality Partners

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