Festival Artist-in-Residence AMY SHARROCKS made the invitation for prople to consider their relationship with the world’s most indispensable liquid.

“The Museum of Water is one of those exhibitions that combines art and science in an intriguing exercise of empathy and imagination. Along the way it teaches us plenty, about the importance of water to the environment, to biology, to history and, via memory and symbolism, to our deepest psychological selves.” The Monthly

This two-year collection with over 1500 public contributions was experienced by over 20,000 people and has now been acquired by the West Australian Museum.

“Collecting the water, bringing it along, and
explaining why it mattered to me was a
surprisingly powerful experience. In a place
where water is so precious, there was a quiet
solemnity to the Museum of Water that seemed
to perfectly capture the way that water is both
an everyday banality and a sacred element.”
The Conversation

FREE OPENING EVENT 2017 Perth Festival, Kings Park. Directed by Nigel Jamieson

“In the open-air spectacular Boorna Waanginy, scientists, botanists and school children came together with Noongar elders to deliver a powerful message. The stories play out above and around us: vast, full-colour 3D projections that dance across towering gum trees as we walk among them.” The Guardian

“Boorna Waanginy certainly shows how public arts events can engage with local communities. Its effects look set to make a real difference in the years ahead. If only every cultural project could be so effectively interventionist.” Limelight Magazine

I developed the concept with lead artists, built the creative team, liaised with Indigenous elders, invited the participation of scientists and negotiated with stakeholders across the city to enable delivery. We developed an environmental project in schools statewide and raised $400k from government and philanthropy. Budget $1.1m. Attendance 110,000 over three nights.

“24 days of beauty, whimsy, fun, entertainment and thought-provoking works” Perth Now

“Martin offers both subtle and more overt perspectives on our need to stay grounded and focused on what is the essence of our humanity. Fine festival curation only becomes apparent as you become immersed in the works on offer. The signs are that Martin may be something of an alchemist.”  Barry Strickland, artsblog

“Wendy Martin has programmed a festival with a passionate sense of social and moral purpose, celebrating the land shared with the Noongar people of Western Australia, addressing environmental and asylum concerns and nurturing artists with disability.” RealTime Arts

Photographs: Dimitry Krymov Lab: Opus No. 7; Before the Siren

SCENT OF THE FESTIVAL
Scent creates life long memories.
I introduced the idea of scent as a trigger for memories of Festival experiences and as marketing story-telling tool.
2016 SANDALWOOD. Western Australia is the Sandalwood capital of the world so it seemed fitting it should be the first scent.
2017 LEMON MYRTLE is a native Australian plant long been used in Indigenous cuisine and medicine. Its distinct lemon and lime aroma permeated our venues and flavoured especially created dishes and cocktails created by our partner restaurants.
2018 DAMASK ROSE was inspired by a bottle of rosewater given to our Museum of Water by Mahin Nowbakht, a refugee from Iran. The Festival commissioned it’s own “Persian Love Cake’ ice-cream as a way of sharing the story of the connection this ancient flower gives to to her homeland and culture.

“With her first festival done and dusted, Wendy Martin has put her stamp on Australia’s oldest annual cultural celebration, not just with major international acts, but also putting the focus back on the city, the state and its talent. It has been a Festival of high quality and deep connections.”  The West Australian

“There was a warm, deep connection between artists and audience as ideas of great seriousness and moment were put forward in an open-hearted spirit of inquiry. The feeling of something being generously shared, not just seen, was paramount and even in the darkest of subjects — depression, violence against women — there was the strongest affirmation of life.” The Australian

Photographs top L-R: Home; Aditi Mangaldas, Within; Wynton Marsalis Swing Symphony

Albany’s Snake Run is the world’s oldest community funded skate park, a pilgrimage site for skateboarders from around the world. February 2016 was the 40th anniversary of its opening, where American skating legend Russ Howell first rode its winding curves.

To celebrate this community milestone we invited Russ to ride again and created a thrilling collision of skateboarding, dance, parkour and street art. Directed by Annette Carmichael.

“One of the happiest days of my life!”
Russ Howell

“It’s a monument to what can be
created through community effort.”
The Australian

The exploration of Empathy was one of the key narrative threads running through the 2016 program and a festival highlight was the MUSEUM OF EMPATHY. 

We made Perth versions of two projects created in the UK:

THE HUMAN LIBRARY invited people to choose a book cover and meet the storyteller. 

A MILE IN MY SHOES asked people to walk in the shoes of others. I invited Patey and Krznaric to collaborate with Perth’s Centre for Stories to create a Western Australian version. 35 people donated shoes and stories. Presented in a shipping container transformed into a giant shoe box, the audience entered, borrowed a set of headphones and a pair of shoes, and went for a walk.

“My festival highlight is A Mile In My Shoes… The first pair I put on, too-big fireman’s boots, pull down on my ankles and change my gait. I clomp down pathways feeling the heaviness of the work of this man and, through his voice, feeling the levity and brightness with which he lives his life.  The Guardian

2012 & 2014 SOUTHBANK CENTRE

I created the Festival framework and curated a showcase of extraordinary new work by deaf and disabled artists. Major commissions spanning dance, visual art, music, theatre and international collaborations, plus a programme of talks, workshops and events for all ages.

Unlimited created myriad opportunities for Southbank Centre to evaluate and address key aspects of its operation, namely the training of staff, the physical access of its site, the accessibility of events, its printed and marketing materials, and the suitability of its welcome to disabled visitors. Unlimited continues as a biennial event, the world’s pre-eminent showcase for disability arts and the benchmark for international best practice.