Transcript
Speaker: The arts have a value which is almost impossible to categorise in the way it impacts society, changes policy, directs our attention and simply brightens our days in ways we often barely notice, but would be a devastating loss if it were to go away.
Speaker: Art doesn't happen by itself, and for the talented creators of the world, support is a vital element that permits their full attention to their art. Without the support of philanthropists with a shared artistic sensibility, much of the art we see would not have the space to be created.
Speaker: In this final episode of Season 2 of Georgia Malone's Here Goes Nothing, we meet one of Australia's most visible and respected philanthropists, Dr Nicola Forrest AO.
Speaker: Dr Forrest is co-founder of Mindaroo Foundation, an organisation almost without peer in Australia, and leads other vital organisations, including the Forrest Research Foundation and is owner and director of Tatarang, one of Australia's largest privacy investment groups.
Speaker: We are delighted to welcome Nicola to Georgia Malone's Here Goes Nothing, as interviewed by former guest Andrew Baker, for a talk about why the arts matter and what Nicola is doing to ensure it can continue to thrive.
Speaker: hello, everyone. My name is Andrew Baker, and it's my great pleasure to be here hosting an episode of Georgia Malone's Here Goes Nothing. Today I'm talking with Nicola Forrest, someone who knew Georgia through a number of GM's roles in the arts sector over the years, including when Georgia produced a spectacular fundraising event at Nicola's home for Black Swan State Theatre Company some years ago, and more recently when Georgia was an arts advisor at Mindaroo Foundation.
Speaker: Nicola, of course, co-founded Mindaroo over 25 years ago, has grown into a significant supporter of the arts sector. But there's a lot more to Nicola's passion for all things arts and creativity, and I'm looking forward to learning more about why Nicola supports the arts and what she's learned from a lifetime of experiencing my arts and culture and creativity in different ways.
Speaker: Hi, Nicola. Hello, Andy. Thanks for doing this. We know that Georgia would have been thrilled. I'd like to start because there are lots of lots of ways that I could introduce you, but I thought I'd throw it to you and simply ask as a starting point, who is Nicola Forrest?
Speaker: Oh, my goodness. Well, some people say, you know, it's always interesting because you never know who you might wake up to with Nicola Forrest. There's a lot of sides to me.
Speaker: um But, you know, for this particular podcast, the Nicola Forrest that you want to hear about the arts, I'm I grew up in country, New South Wales. I grew up on a farm. I'm number three of four children, two older sisters.
Speaker: And I do think that I was very lucky being a number three, because I think you learn to navigate the system. Um, I grew up in an amazing creative household. And I think that has absolutely formed the joy and the desire to surround myself with things of beauty. and and Of course, animals were a big part of my life. So I love horses. My horse was my best friend growing up. I'm a number three as well. Are you? I'm three of four though.
Speaker: Yeah, same. Oh, are you? Yeah. Oh, there you go We could talk a long time about yeah that. Yeah, that's so. Because we're sort of the middle child really, but it just doesn't work. But quite. Not quite, yeah. So, yes, your mum, Brooke, was an artist, he's is an artist.
Speaker: How did that play out for you growing up? What was that influence like? Look, there were always there was always creativity happening and I remember mum had, dad made mum an electric pottery wheel at one point, which was pretty amazing. You know, he used a motor out of, i don't know, not a motorbike, I don't know what he did, but he made an electric wheel and mum had turned a cottage into a sort of studio and we were making pottery and we always had to be making things for Christmas presents and We had artists coming to visit and I think just being surrounded by that. My grandmother, I also grew up with two great grandmothers till I was 14. Oh, wow. And both my grandmothers lived into their 90s, so in well into my married years. Yeah.
Speaker: my grandmothers were both very creative as well. So I really was surrounded by women that were um creative and innovative. i was going to say creative but also resilient and were your grandmothers also of the land, you know, farming country women?
Speaker: Both of them were city women that married countrymen. Oh, right. and But they were both exactly making a lot with not much. Because I've heard you speak in the past about your mum's creativity but also the entrepreneurial enterprising spirit. And did she start a like a gallery in the in the community or something like that?
Speaker: Yeah, gosh, yeah she did. in well I grew up 20 miles out of a little country town called Wellington in New South Central Western New South Wales. And there was a beautiful old building. And at one point, mum, with a whole lot of other people in in the community, turned it into a regional gallery.
Speaker: And it was, they had visiting artists and mum spent a lot of time there. Yeah. Wow. Was there any um particular memory from that time? Did an artist who visited stand out or your particular experience from seeing that interaction between artists and community that stand out? ah there There was one artist who was, became a good sort of family friend. His name was John Ogburn.
Speaker: And You know, he was around the same time as John Olsen and someone, Auburn, I can't remember what his first name was, but he used to come and stay with us and paint and he was also a bit of a magician. So he intrigued us as children because he'd always be playing tricks and doing things. He was...
Speaker: Yeah, wow. Amazing. We'll get onto it probably later, but I think hearing you talk there about that mix of that can-do attitude, the ingenuity in entrepreneurialism alongside the creativity, I think, is something that I've certainly seen in how you consider arts programs and consider what an artist's role and career, you know, should be about.
Speaker: Did you ever want to become an artist yourself or does creativity play out in different ways for you? You know, it's a really interesting thing because growing up with a mother who was a very clever artist and still is actually, she started she self-taught, painted, did a lot of portraits and then taught herself to not only with the pottery, she began to um do portraits and busts and sculpt and has got quite a few public commissions that are now in bronze. And so people would always say, oh so are you creative? And there's something...
Speaker: quite interesting that it's not it shouldn't be stifling but it can be as a child of someone that's creative or successful that you sort of feel like you're following in their footsteps yes following your footsteps and maybe also wanting to naturally distinguish yourself from your parents a bit so when people would say so are you creative i actually used to say yes i find cooking is my creative right yeah and And I do think cooking is something that you can create things of beauty and it is a creation in itself. It is.
Speaker: And it's such a cultural expression as well, cooking, that connection of food and your story and who you are and the type of home you create. It's a big part of culture. Exactly. And I think that is the heart of of what we're talking about because it is about telling stories. Yeah.
Speaker: Yeah. I was going to ask a really cliche question and I was going to ask you, what when you hear the word art, what is it for you? And I was thinking, well, how would I answer that? And for me, it is storytelling. In my mind, as more of a performing arts theatre guy, for me, art is storytelling. So therefore, my mind goes straight to storytelling.
Speaker: the stage. However, you've just taken me through a few of your the beautiful works of art that you've got in in this house, which is just amazing. Obviously, art for you starts with visual art.
Speaker: Is that right? I think so. I think I've been lucky to renovate this home, yeah which was, you know, our very happy family home for more than 20 years. And to come back into it refreshed and with new art is is such a joy.
Speaker: And so, yes, I believe it's storytelling, but I think it's, I say that art is almost the international language because it crosses every boundary. And so not only telling a story, but you can convey something, whether you can speak the language or not. Yes.
Speaker: And having children and travelling with children to far away places, it's amazing seeing them in the playground, being able to, you know, play with anyone and doesn't matter that they don't speak the language and that's creativity in itself.
Speaker: Yeah, I agree. Play and creativity is all is all universal um and that unifying power that art has, as you said, a piece of visual art, you don't need to speak the same language to have a shade a shared experience.
Speaker: Now mentioned your family, your beautiful family. When you were raising your kids, you're still raising your kids, I'd imagine. That's lifelong journey. How did creativity and the arts show up in their experiences?
Speaker: Look, I think, you know, we had, we lost our third daughter and Grace and Sophia were only three and four at the time. And I remember that Christmas, gathering them up and creating things together that we could give as gifts. And I think it's a way of bringing you together and it's a way of expressing yourself. And so that wasn't the first time that we'd made things together, but I was reflecting on that knowing that we were going to be talking. And I do think that it can be a very healing process.
Speaker: because you are able to express yourself in ways that sometimes words, there are no words. Yeah. Isn't that amazing? I have heard artists of all different forms talk about their art as being an empathy machine, something that helps others foster empathy. So i think what you just said is in line with that for sure.
Speaker: Now, i mentioned just before we went live about your taste in art and your taste in design, your taste in style. Does that come from having a creative, artistic parent like your mum or does it come through your your pretty exceptional life experiences since then? Thank you. Amazing style. I like that. I think being able to be surrounded by things of beauty or things that bring joy only elevates our lives. And I think that is really the power of the arts and it's something that I would love to see more of that and I know that it's a privilege to have been able to to grow up and to appreciate paintings or works of art and and understand the creativity of it. It's an interesting thing because I am quite an eclectic person and I have had the opportunity to travel quite a lot.
Speaker: But it's amazing when you accumulate things or collect something It's been always amazing to me how things go together. If they're things you love, even if they're quite different, it's quite interesting how that can happen. And and and I find that quite fun. Having just moved house again, yes it's been quite fun thinking, I think that's going to be here. And then actually, no, it almost speaks to you that it's got to go there. Yes, you've got that internal barometer. Yeah, it is something that it does bring joy and it is amazing, the memories. People often say to me, my God, you've got an amazing memory because I can... Remember where I bought something or why I bought it.
Speaker: For me, it always means so much more when you get to meet the artist. Now, of course, there's many artists that we'll never get the chance to meet because they came well before us. But for me, meeting emerging artists or seeing a work of art and then meeting the artist only makes you love the work more in most cases. LAUGHTER I want to speak a bit later on about, mean, let's face I'd love to hear you talk about your favourite artists and favourite works. We might get to that. But before we get to some specifics, what is it about artists? Do you think artists have ah a special something or certain artists? What is it about a great artist that means so much to you and also to to the world at large? Look, I think particularly because it's this is George's podcast, you know, when I think about the Artist Fund with the Guru Foundation, meeting those emerging artists or
Speaker: you know, mid-career artists and seeing the passion that they have, there's something around being inspired by that commitment to their process and their work.
Speaker: And it's been very humbling to be able to give that opportunity to those artists for them to really dive deeply into that. And it's been quite amazing to see what has happened with that. So I think in in some cases, you know, if people are really passionate about what they do, it's almost not their choice to do that. It's almost what they're driven to do. And when you see them get the chance to really excel in that, is it's really, I love that.
Speaker: I really like hearing and you say that because i think some people struggle to understand what drives an artist to commit to a really difficult career path, no certainty, and I think it does come from a very deep vocation.
Speaker: And I have said in the past as a failed actor that I think you you should only pursue being an artist if there is almost fundamentally nothing else that you see can see yourself doing. If you can see yourself doing anything else, do that because because it's it's so hard and it's so unforgiving. So opportunities like the Artist Fund really do give people that additional hope for another period of time that they've got the the support to keep doing their unique practice.
Speaker: So I've heard people say that you struggle to walk past an art gallery or or a a shop that might be selling art. What is it about that makes it really difficult for you to keep walking past an art gallery? It's not just retail therapy, I you. I think it's about being inspired.
Speaker: And, you know, I have to say I'm not always inspired, you know, and you can you can go to certain regions that might be known for art or visit galleries and sometimes it can feel quite commercial or it doesn't feel authentic. There's something about visiting a place and going to to see what is being produced in that place. And sometimes it doesn't. Sometimes it resonates with you and sometimes it doesn't. And I do need to find the discipline not to always feel like I have to buy something. I find that hard, actually. It must be difficult. But i also love supporting artists, you know. I have huge admiration and a small understanding of what it takes to create something.
Speaker: So, you know, I've recently been in Tasmania and even pieces carved out of the huon pine carved out of timber, it's not just the beauty of what's been created, but it's also the materiality and and where it's come from.
Speaker: And there's even often a scent or, you know, there's there's so many elements and so many levels that you can relate to. So I'm very tactile person. Yeah, and if you do collect something from a particular place, you've got that story attached to it forever.
Speaker: Absolutely. Yeah. So can you remember the first time where you realised that there was and a need to support artists or an opportunity to support the arts philanthropically beyond purchasing work? Exactly. Look, I think it has been a journey journey.
Speaker: with Mindaroo Foundation. Before that, I don't think I'd bought art, but um in a small way. And actually, i got invited to sit on the sculpture by the seaboard when they first came to Western Australia, which was over 20 years ago.
Speaker: And that was a real eye-opener because I think we had supported a couple of organisations before that as ah as a funder. But I've not been on the other side where you're actually trying to raise the funds sitting on a board and an understanding what a hand-to-mouth existence it really is for so many institutions and organisations that are trying to promote artistic endeavours.
Speaker: And so that that made me want to think, how can you do things differently? Yes, which is ah almost ah an anthem of yours. There has to be a better way. There has to be more innovative ways to support the sector, which which we'll get to. But across your many years of supporting the arts and in a really short, like a materially ah a big way, but also in a strategic, intentional way, is there an experience that you can remember that you were most proud of?
Speaker: Well... I think the partnership with WAPA has been something to be very proud of. Yes. Mindaroo has stuck through that during good and bad times and to see what they have done. I think what I'm proud of is where you see support be leveraged to create something greater than the parts that have put it together.
Speaker: And, you know, when you see that campus and you see what they've done with ECU and WAPA, that's something to for Western Australians to be very proud of Yeah, absolutely. that that's And it seeded so much you know many, many years ago where you began supporting visiting artists to help bring the best to Perth.
Speaker: So you've always been particularly interested in opportunities for emerging artists in Perth. You've you've had these amazing experiences around the world and I'm curious to know what what drives Perth the The great passion in WA is your now adopted home state. Been here for a while now. but Over 30 years. That's something that drives you?
Speaker: Look, I think what I have learned living here in Western Australia is how East Coast-centric Australian really is and how funding happens like that. And yet there is so much creativity that comes out of Western Australia.
Speaker: And I think there is something to be said around out of constraint comes great creativity. And I think Western Australia has punches way above its weight on many levels, including the arts.
Speaker: And I think the opportunity to bring great art to this state is really important. Virtuosity. I think we talk about art being accessible. Yes. But it also needs to be excellent. Absolutely.
Speaker: And accessibility is something that has always, i remember when I first started at Mindaroo, it was sort of the the main driver was access And it it surprised me, it probably shouldn't have on reflection, but I was told quite early on that something that you're very passionate about is to break down that elitist label or elitist perception of the art. So, yes, there's access to for artists to grow careers, but also access to experience arts and participate.
Speaker: as an audience member or a consumer, that you were driven by ah it seemed like you really wanted to make sure you weren't just supporting that elitist tier of art.
Speaker: You wanted to grow accessibility and to break down that elitist. Yeah, I think there really is something in there because I think i am always amazed at how many people say to me they've never been inside the state theater.
Speaker: or how people feel uncomfortable perhaps going to His Majesty's or they have never been to the concert hall. And so another organisation that I'm really proud of is the Perth Symphony Orchestra.
Speaker: And when Borby first started that here in Western Australia and people said, oh, i don't really like classical music, and she took it to the crowds and she made it accessible for people, but it was excellent work. So accessibility doesn't mean dumbing it down. Yeah. but making it available in a way where people felt safe to have a taste and then that's grown. And not only does that elevate people's lives, but it it has also created pathways for those musicians.
Speaker: And so I think that there's there should be more opportunities for that because it only makes our community stronger. and brings people together, opportunities to bring people together.
Speaker: Yeah. Actually, hearing you say that reminds me of the that phrase, unfunded excellence, that gets thrown around a lot when funding rounds, in government funding rounds, the results come out and there are lots of great work that otherwise would have received funding had there been more funding. so like they They call that deficit, unfunded excellence. Oh, wow. Yeah. So your reflections on PSO reminded me of that because it's almost like there's this surplus of excellence, just not getting the opportunity to be seen and to be practised. And Perth Symphony also is a really good example of that. And they finally got government funding, haven't they? Yes. Let's say for more than 10 years. Yes. Well, they, but they've also kept, and there are a few organisations like this. They're really determined not to become too reliant on government funding. They really want that even spread of different sources of revenue, which is really the name of the game. It's great. And they're they're going from strength to strength. Well, in the end, either you're relevant or you're not. And when I say that, if people aren't actually coming to see that or, you know, if you're creating opportunities and people don't want it, that's, you know, oh yes trying to preach to the audience in a way. There has to be some demand. there has to be some, um in order for, I think, for government to fund in particular,
Speaker: there needs to be some evidence that there's a desire to engage with this type of art. But that's often not because there's a a lack of interest. Sometimes it's because there's a lack of awareness, a lack of opportunity to experience. So think that's something that Mindaroo and other philanthropies work has been informed by, which is let's get as many people to experience what this type of art can offer.
Speaker: And hopefully then they become lifelong lifelong supporters and those companies can sustain. You've now been supporting the arts through Mindaroo least for 25 years. Have you ever identified a common thread to the things that resonate with you, to the things that you think are worth backing?
Speaker: For me, if it helps, having worked with you for a few years, I think there are common and threads around certainly quality, a sense of humility. You want to see ambition.
Speaker: And you want to see people who are very proactive in their sustainability. They're not just simply looking for a a handout. They're looking for something that's going to help generate new opportunities for them and really move forward. But they're the other things that I was reflecting on as i was preparing, but are there, is that kind of on the money or are there other things is that drive you? Look, I think what I touched on around sculpture by the sea, the sort of hand-to-mouth existence, where I think we've tried to be catalytic or make a difference with Mindaroo, and, you know, we're still in the embryonic stage really, but people will back a vision or people will will follow an idea. And so you need to be able to back good leadership and good creativity but give them the runway to be able to create something
Speaker: that people can can see because then that will build the support. And often, you know, I'm talking about organisations more than individuals. Our organisations often don't have the budget to really do long-term planning because they're just trying to survive. and they And some of the most creative people spend half their time trying to raise the money to do the thing they do.
Speaker: So I think if there's an opportunity to support great leadership and great vision, great ideas, that become self-sustaining in the, oh, that's that's sort of what I have hoped. And, you know I look at Black Swan State Theatre and, you know, that or that fundraising that Georgia helped with was ah was a huge one and it helped set up Black Swan to have a corpus to be able to plan long-term and bring in a great artistic director and, you know, look and look at them now. Yeah.
Speaker: Artistic leadership, well, actually, organisational leadership of arts organisations, whether it's the artistic or administrative, is is so vital and I think something that's so undervalued more broadly.
Speaker: We've come across some examples of such exceptional, skilled leadership in this sector, And I can't help but think, my goodness, if you were in any other sector, you'd be paid three times as much and you'd be a household man, you know, whereas dedicating your life to leading an organisation and leading an artistic practice can be pretty thankless. And I think you're investing in leadership is vital.
Speaker: Yes, yeah absolutely. And I think, you know, like I'm not i'm not here trying to push you into root. no, no. We've been led. by by people that have come to us and said, we've got an idea or we would like to do this. And I think some of the things that have really built Fertile Ground have been the partnership with Pika, the partnership with Fremantle Press, where we've funded curators and funded a role that they said, look, if we had this role, we could do so much more. And they've now actually...
Speaker: created a second role and it's created more demand for what they're producing. yeah Yeah, absolutely. And it the proof is there that when they have that capacity and when they're backed.
Speaker: And then it has that catalytic effect of others in the sector, particularly emerging curators, emerging administrators, they see, that like okay, there are pathways and people do believe in this. and I think that's that's one of the kind of harder to quantify impacts of arts philanthropy, I think, is that leadership that you take, leadership that someone like a foundation like Mindaroo, but there's plenty others that say this stuff matters and it's really important that we all get behind and invest in our storytellers and the things that help build our identity as a as a place. And, yeah, I think that's certainly things that drive that drive me. You talked about being led by people who come to you for support, come to Mindaroo for support. It's been a while since I've thought of it that way, but you're absolutely right because it's not, yes, we have parameters and, yes, we have some, yeah we have a strategy.
Speaker: But how much do you think over the years you've relied on just great visionary ideas coming your way and having the opportunity back it? Oh, absolutely, every time. mean, the Fremantle Biennale, they came to see us and said, we've got this idea about having these drones and we can get a few drones and you could help fund it.
Speaker: And, you know, the Mindaroo team, and we had this conversation and said, They were going to spend whatever it was. The budget was enormous to hire these drones to have a show for the Biennale and we said, what about if you buy them?
Speaker: And that now is generating income for them. Do you have a particular answer to the question, what role should philanthropy play in the arts? And you've already talked about how it can be catalytic in terms of bolstering confidence and allowing people to take some risks.
Speaker: Is that what it's about? I think it is backing good leadership and being supportive there. I think it's very important to have long-term support.
Speaker: From what I've seen, you know, if people can start with a vision and if they, if some, and not just even in the arts, but in so many programs that you see, it starts doing well and then the funding stops. So people knowing that they've got that assurity. And I think government funding, they want to know, they want to see things that are proven up a bit so philanthropy can take that first lead.
Speaker: I think the other side, and it's something you've worked on a lot, Andy, around this new national cultural strategy. Yes. I don't think there's been enough around measuring actually the value of culture and the arts. And, you know, yes, tourism dollars and how many beds are sold and how many tickets are sold. and There's a measurement around tourism and that's good. But what we touched on earlier around bringing people together and making people feel safe and allowing people to tell stories, and I think particularly...
Speaker: as we live in this world right now where we've never been more polarized. The arts are so important to make people feel, have a sense of belonging and place to feel safe and to come together and I don't think we value we've worked out how to measure the value that that's absolutely right I I do get frustrated sometimes when I hear people say that politicians or or corporates or whoever don't value the arts and I actually think people value the arts more than we give them credit for it's just that measurement part and in when you're running a massive federal government budget for example or a state government budget it's it's a pecking order and it's
Speaker: It's who can who can really measure up. And at the moment, the the value of creativity and culture is not as articulated as as others. And I think we're on an interesting path there. I think there's, because of, unfortunately, the pressures that we're feeling in society, leaders of all persuasion are opening their eyes to the need to get a bit more serious about what is this fabric and what comprises it. And arts and culture and storytelling are a big part of it.
Speaker: And particularly as we head into this technological renaissance yeah of you know AI. Creativity is one of the things that AI cannot yes reproduce. Yes. Yes. And there's an opportunity to measure creativity, particularly in the classroom. So who knows, there could be a an avenue there to unlock some more support. But...
Speaker: I don't think, maybe it's because I'm too anxious and scared about it, but I'm not too sure want to go down the AI line in this conversation. no, let's not Yeah, that's a whole other podcast. I don't know enough about it, but I do think one of the things that we need to try and help do, and I was really proud of the work that you and the team put together for that submission, it's really important to call it out and show where it's important and how it is making a difference.
Speaker: Yes. Telling those stories. Yeah, yeah. It's a big challenge that we all face. I want to move on to some of the harder things. It's not really that.
Speaker: I often find that people misunderstand or or underestimate the the job that you have. Leading a foundation, among all the other things that you do. What's hard about your role?
Speaker: Oh, gosh. In the arts context. In the arts context. yeah. Look, I love being at the coalface. I love meeting. You know, we're a big organisation and we're doing lots of things. So, ah you know, staying on top of everything that we're doing, that's not a hard that's not a hard role. That's, you know, just being there and trying to catch up.
Speaker: There's nothing particularly hard about it. You know, you can see when people sometimes try and package things up thinking that it will fit with what Mindaroo might want to do and I find it very hard to say no to things because you want to support people's enthusiasm and people's ideas But that's made it a lot easier for me because we have a team and a process. And so there's not a lot of harm about it. No, I thought that's what you'd say, is it is actually difficult to say no to a lot of really wonderful opportunities. So that's certainly what I find hard about the role I do at Mindaroo. And I think philanthropy generally, I think there's something in that
Speaker: disconnect between what people see as as the outputs, the big, shiny outputs of philanthropy, but also the the work behind it and the strategy behind it. Certainly the learning curve I went on when I started at Mindaroo was that, oh, okay, it's actually, it's highly strategic and it's very sophisticated in what it's trying to achieve.
Speaker: So with that in mind, is there anything you wish artists knew a bit more of in terms of arts philanthropy? You said people come to you or come to us with things that are packaged up in a certain way that they think might resonate, which doesn't always land because we want to see the original thinking. we want to see what the genuine need is for their organisation or their practice. We want to see that.
Speaker: We don't just want to see some sort of a version of what they think we want to see. First and foremost, we really want to see the need and the opportunity, and then we can think about strategy and how it aligns or doesn't, but we really want to see that the unveiled vision. It's an interesting thing because I know you've been working and looking at how do we help arts be much more in the school curriculum and and and support artists to be delivering that rather than necessarily school teachers.
Speaker: And, you know, the sort of the two ends are you need the excellence and you need that sort of mentorship and things for people to aspire to. But how do you create that opportunity for people to connect and and have an opportunity to unpack their own creativity and their own stories? And so there there are two there are really two streams there. I really love the idea of what arts programs are there that are actually working in community and helping bring people together. yeah I'm a country girl at heart. yeah So regional Australia, for me, is a place under huge challenges. Mm-hmm.
Speaker: And so that sense of place and that sense of community and therefore that culture and people being able to express themselves is a really important thing and for children to have that opportunity to come together. and So I see there's a big opportunity for us to support that in place. And I know that with the regional artwork that yes you have supported, that's really good.
Speaker: Well, I think it's something that Mindrew should be very proud of. and It's not a commonly supported thing at scale that grassroots place-based community um responsive work or community-led work. And we're hoping to bring others along on that journey so there's more investment in regional yeah stories and regional artistry and regional ecosystems. um And I think you're going to see amazing shoots out of it. I think so too. Yes, I think so too. I think ah regional Australia will certainly have its moment in the sun again, as will children in arts policy.
Speaker: And they're two areas that Mindura have been championing for a long time. So it's optimistic. I'm optimistic. But we're also supporting at the other end. From Anne to WAPA. And I think that's really important. Absolutely. There's no one panacea.
Speaker: Yeah, no, that's absolutely right. I think hopefully we start seeing other other funders, whether it's philanthropy or government, really recognise that both those modes of practice are really important.
Speaker: Well, this has been delightful and very illuminating for me and I hope for other people listening. The Here Goes Nothing podcast has a couple of sort of compulsory questions. ah So I'm going to turn to them now, just a couple of wrap up questions.
Speaker: What do you think the world needs more of right now? book Love. I think it needs connectivity and people feeling a sense of belonging. I think people are feeling very isolated. They're feeling very frightened.
Speaker: And so a sense of being able to come together in a safe environment is something that is really important for communication. And because, you know, the polarisation that is happening. So how can we bring people together? So whether it's through music or through theatre or through art, I do think that it is the vehicle that can help cause collegiality in community.
Speaker: Yeah, wonderful.
Speaker: Well, I think that is a great place to wrap up. And it almost was one whole glass of wine. which was He hardly had a sip. Which was what we're hoping for. Well, Nicola, thank you so much.
Speaker: Thank you. It's been great.
Speaker: What an honour to have had the chance to hear from Dr. Forrest. With such dynamic figures at the forefront, the arts in Australia has some incredible backing, and the growing, vibrant artistic centre of Perth is testament to what groups like Minderoo are bringing to our society.
Speaker: Thank you to Nicola and Andy for this great chat. And with that, that is our final episode of Season 2 of Georgia Malone's Here Goes Nothing. The producers have discussed whether this meant the end of the podcast, since we have now created as many episodes without George's voice as we had with it.
Speaker: Yet, we still have George's list. And the public reaction to these episodes has been so overwhelmingly enthusiastic that we've decided to keep churning through that list.
Speaker: We'll be back for season three in a couple of months. We have some amazing voices lined up, so be sure to share the podcast with everyone you know and give us a positive rating where you can.
Speaker: I've been Toby Malone, and on behalf of my mom, Jo, and my brother-in-law, John, we want to thank you for helping us keep the ripples moving. See you soon.
Speaker: Thank you for listening to Georgia Malone's Here Goes Nothing. This podcast is dedicated to the enduring, impactful and dynamic memory of Georgia Lindsay Malone. We produce and maintain each episode in Georgia's honour to keep the ripples moving.
Speaker: Georgia Malone's Here Goes Nothing is produced and engineered by Toby Malone with the support of co-producers Joe Malone and John Carter. Original theme music by Lyndon Blue.
Speaker: As for where this podcast is based, let's let Georgia get the last word. This podcast was made on Whadjuk Noongar, Budja, a place I'm very privileged to call my home. And I acknowledge and honour all Noongar people that have been making art on this land for tens of thousands of years and will continue to do so for generations to come.
Speaker: Always was, always will be Aboriginal land. This is the GM Productions Project.
