WA-based arts non-profit FORM leveraged the launch of its new exhibition to prove 22 years of cultural investments had delivered tangible financial returns for the state's economy.
The exhibition, titled Momentum, served as the backdrop for Chief Executive Tabitha McMullan to demonstrate how the group’s two decades of project delivery acted as a primary engine for Western Australian growth.
It delves into their delivery of the Giants of Mandurah, now one of WA’s most visited cultural experiences, the Field of Light in Albany, and major public art programs at Optus Stadium and Elizabeth Quay.
“For many artists, these projects marked their first major public commission,” Ms McMullan said.
“Momentum recognises that legacy – the artists, the communities, and the trust that has been built over time.
“This is about how art shapes places – socially, culturally and economically – and how those relationships endure long after the installation is complete.”
The organisation, which ranked 11th on Business News’ list of WA arts organisations with an annual turnover of $7.59 million, used the Momentum milestone to anchor its business case using data from major public installations.
Ms McMullan said the most significant of these, the Thomas Dambo’s Giants of Mandurah project, had emerged as a benchmark for cultural ROI in Australia.
According to FORM, the Giants of Mandurah generated $81 million in visitor spend for the Peel region.
When measured against the initial costs of the project, the installation delivered a 47:1 return on investment.
Ms McMullan, who is a member of the state government’s Creative Industries Taskforce, said the figures proved the creative sector’s capacity to drive tourism and support local industries beyond traditional resources and agriculture.
"We want to be a leader in developing a vibrant creative economy for the benefit and wellbeing of all Western Australian communities," Ms McMullan said.
“What we’re seeing across WA is that creativity, when backed by strong partnerships and clear intent, delivers real economic return.
“Public art done well attracts visitors, strengthens regional identity and creates lasting value – and that’s exactly why the creative industries are increasingly recognised as a growth sector.”
The success of the Giants project was part of a broader trend of high-yield cultural tourism managed by the group over its 22-year history.
The Field of Light: Avenue of Honour installation previously recorded more than 186,000 visitors.
The focus on ROI extended to regional hubs like the Spinifex Hill Studio in Port Hedland.
FORM’s strategy for the studio included a targeted five per cent annual increase in revenue from art sales, commissions, and prize money.
It has helped FORM train 78 Aboriginal artists through its Land.Mark.Art program, facilitating $8.8 million in artist commissions; the first paid work for many of the artists.
Ms McMullan said the organisations work, and the new exhibition, reflected a broader shift in how public art was understood by decision-makers.
“There’s growing recognition – at a state level – that public art is not a ‘nice to have’. It’s cultural infrastructure that supports tourism, employment and liveable communities,” she said.
“(The exhibition) is about demonstrating how creativity acts as a catalyst for positive change in our state.”
Momentum: Shaping our World exhibition opens at FORM’s Gallery Claremont on February 25, and will run until March 26.
