Optus Stadium

Guided by FORM’s curatorial strategy, the program prioritised consultation with Noongar cultural authorities, historians and environmental specialists. Through the Land.Mark.Art model, 12 Noongar artists were mentored through every stage. Artists including Barry McGuire, Tjyllyungoo/Lance Chadd, Sharyn Egan, Laurel Nannup and Kim Scott delivered major commissions, many for the first time, expanding their practice into state-scale infrastructure.

It was clear from the beginning that Aboriginal engagement needed to be a key part of the public art strategy for the Stadium precinct. FORM worked closely with the South West Land and Sea Council and representatives of the Whadjuk Working Party to develop a relationship of trust and mutual respect that carries through to each of FORM’s projects. With this guidance, FORM was able to navigate potentially challenging questions of site, culture and expression. The Stadium was the perfect opportunity to implement Land.Mark.Art - aimed at developing the 3D skills of Aboriginal artists working predominantly in 2D. Through workshops and mentorship, FORM aided the artists through the procurement process, from initial concept to fabrication and installation.

Funded through the State Government Percent for Art Scheme (three artworks) and private sponsorship from BHP and Chevron (12 artworks through Land.Mark.Art), the project demonstrates end-to-end delivery capability from cultural consultation and artist development through to fabrication and installation. The stadium stands as proof that when government, industry and community collaborate, public space can honour Country while serving millions of visitors each year.