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Optus Stadium

About Optus Stadium

As part of the Westadium Consortium (Multiplex and Hassell), FORM was awarded the art consultancy role for the Perth Stadium. Located on the Burswood Peninsula, this project commenced in 2013 and opened to the public in early 2018. The Westadium Consortium 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. FORM’s involvement in this project began in the bid stage in 2013 when, FORM and the team undertook development workshops with Noongar artists to discuss and develop themes appropriate to the area of the Burswood Peninsula. These themes, formalised in to ‘Our Land’, ‘Our Sport’ and ‘Our People’, went on to inform not only the procurement of the public art work but also the Stadium and precinct design itself. Within the bid stage, FORM were able to assist Westadium in confirming private sponsorship from both BHP and Chevron.

Upon award of the tender, the FORM team worked closely with Multiplex, Hassel and various stakeholder engagement groups in developing the public art strategy. Two funding streams were available for artworks, being the Percent for Art funding, as a requirement as a State government project, and private sponsorship through BHP and Chevron. An Artwork Selection Committee was established for the Percent for Art funded works, which included representatives from The Office of the Government Architect, Art Gallery of Western Australia, Department of Sport and Recreation, VenuesWest, Department of Culture and the Arts, Westadium, Brookfield Multiplex Engineering and Infrastructure, Department of Treasury, Brookfield Global Integrated Services, Hassell and the Whadjuk Working Party Advisory Group.

Through the Percent for Art policy, three artwork opportunities were advertised internationally. The first of these was a land art opportunity, which was awarded to UK environmental artist Chris Drury, who created and installed The Wandering. The remaining works were a Statement Artwork, awarded to Perth artist Jonathan Tarry who created Convergence, and a pedestrian link work, awarded to Perth team Chris Nixon and Tom Lucey who created Sound & Colour, an immersive work incorporating lighting and sound scapes.



Jon Tarry

2017 – Composite Carbon Fibre

The tracking of human motion and the environmental forces of Western Australia are evoked within the form of Convergence. The artwork reflects the surface of Western Australia’s many waters, its environment and the social nature that will meet in this space. Convergence generates an interactive space, inviting people to explore and engage amongst the curvilinear forms of the artwork.


Sound & Colour

Chris Nixon and Tom Lucey with Ned Beckley (Sound Design), Sam Price (Motion Design) and Steve Berrick (System design)

2017 – Light, Sound, Aluminium and Acrylic Paint

Nixon and Lucey, an artist and landscape architect respectively, have formed a multidisciplinary team to create Sound & Colour. The installation manipulates the lines of the built form to create sculpted light beams channelling kinetic lighting, synchronised with a dynamic soundscape and embellished with the painted surface treatment to create an immersive multi-sensory artwork.



The Wandering

Chris Drury

2016 – Toodyay and Donnybrook stone, planting

The Wandering is a meandering dry-stone artwork, designed as a growing living thing: a miniature ecosystem and bio-diverse habitat. Constructed from local stone with an earth infill, The Wandering encourages plants to grow along its surface, providing habitat for insects and lizards. This snaking artwork mirrors the meanders of the Swan River, a form intended to energise the land leading up to the Stadium.

The Whadjuk Working Party Advisory Group were closely involved in the procurement of artworks for the precinct sponsor zones. The private sponsorship through which a number of artwork opportunities were made available, allowed a number of Aboriginal artists to be involved who otherwise may not have had the opportunity to provide artworks for the Stadium through the Percent for Art policy. This was facilitated through the Land.Mark.Art workshop process commencing in 2015, and saw 12 artworks installed by 10 Noongar artists.



Kim Scott with the Whadjuk Working Party

2016 – Noongar and English language poem printed in concrete

Kim Scott’s poem Kaya is composed using two languages, Noongar and English, that interweave to emphasise the parallels that exist between a crowd converging for a spectacle and Noongar continuity and regeneration. The text acknowledges the centrality of Aboriginal people and languages to our collective identity and belonging in this part of the world.


Waanginy Boorna – Message Sticks

Barry McGuire

2017 – Cast bronze, concrete and light with stories in aluminium across the BHP Boardwalk

Barry McGuire, a Whadjuk, Ballardong, Noongar artist, has cast in bronze his interpretation of the waanginy boorna (message stick) here as a symbol of eternalising the implements place in this Boodja (Country). Standing over 4 metres high, the sculptures act as an invitation to all nations to come together to celebrate in the Stadium Park.


Kwooyar Boorongur – Morphing Frogs

Tjyllyungoo (Lance Chadd)

2016 – Concrete

Tjyllyungoo’s artwork depicts the frog morphing from the rock into its true form. Kwooyar, meaning frog, and Boorongur, meaning both ‘spiritual elder brother’ and ‘blood brother relation’, identifies the strong connection Noongar culture has between place and belonging. The presence of Kwooyar signifies that the water is clean and safe to drink.


Weitj Noorook – Discovery Emu Eggs

Jade Dolman

2016 – Concrete

Dolman’s first public artwork is located within the Djeran seasonal area of the Chevron Parkland, the fertility season. The artwork tells the story of the hatching of a weitj noorook (emu egg), and consists of a series of works, from a cluster of solid eggs, to cracked eggs, to egg shells, through to the footprints of the hatched emu walking away from its shell. This artwork provokes curiosity and imagination in a zone dedicated to the young children playing within this area.


Waabiny Mia – Play House

Sharyn Egan

2017 – Woven rope playscape

This artwork stems from Sharyn Egan’s traditional practice as a weaver, exploring the same technique through a series of large sculptural forms. The undulations of the organic mass encourage discovery and adventure for children to run through, hide in, and play on. This artwork and play space is a tactile and engaging environment where children are encouraged to interact freely through play.


Discovery Boyi (Long neck Turtles)

Farmer Design Team – Miranda Farmer

2017 – Cast bronze and engravings in timber

The series of boyi (longneck turtles) are dispersed throughout the Chevron Parkland and are inspired by a baby long-neck turtle the artist saw when visiting this site. Each turtle, whether it is cast or carved, follows the growth of the long-neck turtle from birth through to adulthood. The shell of each turtle features engravings resembling the markings made by small insects on the landscape.


Through the Six Seasons

Norma MacDonald

2017 – Glass and stainless steel

Norma MacDonald’s artworks puncture the tunnels within the Birak play area with a series of embedded coloured glass discs. Each disc contains a drawing representing Noongar culture, its seasons, people, flora and fauna. The artwork provides light within the tunnel, as well as a moment of joy and surprise for children as they explore and move through the space.


Wagyl Mia – Snake House

Farmer Design Team – Kylie Graham

2016 – Perforated, powder coated aluminium canopy

Wagyl Mia – Snake House depicts the body of a snake as it coils and slithers. The work references the snake coming out of hibernation, uncoiling, and going out to hunt, and is reflective of the shape of the Swan River running alongside the site.


Marri Mia – Tree House

Farmer Design Team – Kylie Graham

2016 – Perforated, powder coated aluminium canopy

Marri Mia – Tree House represents local Eucalyptus trees and references the artist’s family’s traditional use of the plant, burning it in order to smoke away bad spirits. The leaves and nuts of these trees are overlaid to portray this custom.



Laurel Nannup

2016 – Perforated, powder coated aluminium canopy

Kulbardi represents Laurel Nannup’s memory of being a young girl living in the bush, where the kulbardi (magpie) would wake her up with its morning song. This narrative, combined with leaf motifs, can be seen in her second canopy, located on the opposite side of the grassed area.


When I Lived in the Bush

Laurel Nannup

2016 – Perforated, powder coated aluminium canopy

This work, When I Lived in the Bush, references Laurel Nannup’s memory of being a little girl collecting all types of bush foods with her parents, before being moved to a mission. Her playful linework style is fitting for the playground setting of this site.



Djinda Kaal Fiona Reidy

2016 – Laser cut, powder coated aluminium canopy

Kambarang references the Noongar wildflower season, or season of birth, between October and November. This work displays the everlasting flower and is representative of the abundance of flowers and intensity of colour evident during this season. Djinda Kaal draws inspiration from her strong connection to Country, her family, and her ancestors who lived off the land as nomadic people, preserving it for future generations.


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