Optus Stadium

A living culture precinct - embracing the architecture of storytelling.

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.

A Legacy in Bronze, Light and Sound 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.

“Nature and culture existing side by side on this site, and with the historical aboriginal context, I was trying to reconnect something, by making a wall that doesn’t enclose anything but instead, with its loops, creates gathering spaces, which again re-connects to the ancient ceremonial gathering place for the Whadjuk, before they crossed the river, or where they fished for clams.”

Beyond the roar of the crowd lies a landscape that speaks of ancient stories and contemporary identity. Fifteen artworks comprising of shade structures, sculptural forms, land art and interactive lighting transform Perth’s stadium precinct into a living cultural sanctuary on Whadjuk Noongar Country. It is an immersive integration of Western Australia’s environmental, historical and cultural narratives into the fabric of a major state venue.

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