Pippa Mott, the CEO of the Wama Foundation, announced that the foundation’s ambitious project has been a 14-year endeavor aimed at revitalizing a former tobacco plantation. Donated to the foundation, the land has undergone significant transformation as non-native plants were removed, and protective barriers were established to keep harmful predators like foxes, cats, and deer at bay. One of the innovative approaches includes reestablishing a former dam as an ephemeral wetland, contributing to the ecological restoration of the area, which is vital for fostering native biodiversity.
A notable aspect of the project is its integration of art and ecology. A striking piece of outdoor artwork, titled “Spring,” created by the father-daughter duo Richard and Jemila MacEwan, features a large ring of broad beans designed to burst forth with native grasses and indigenous daisies as the seasons change. Mott explained that the installation, which has been irrigated, symbolizes resilience and sustenance, offering a sense of hope through ongoing natural growth amidst climate challenges in Gariwerd.
Additionally, the project showcases a remarkable installation made from an ancient red gum tree, cleverly repurposed into a playable steel-stringed instrument. Visitors can interact with this artwork using plectrums crafted from kangaroo ribs, and its cavity has been embellished with natural materials such as abalone shells and crystals, further enriching its cultural significance. Gunditjmara archaeologist Tya Lovett collaborated with Indigenous carpenter Tim Sweet to create meaningful scars on the tree, ensuring that even a dead tree contributes to ecological storytelling and the artistic narrative.
Indoors, the National Centre for Environmental Art features an audiovisual piece by Western Australian artist Jacobus Capone, titled “End & Being,” which captures his experience with the Bossons Glacier in France. Mott indicated that this indoor and outdoor integration of art is expected to draw 50,000 visitors annually by 2027, positioning the arts precinct as a pivotal player in the tourism economy of regional Victoria.
The economic potential that art brings to regional communities was highlighted by Bendigo Art Gallery’s director, Jessica Bridgfoot. With a reported $113 million economic impact since its inception, the gallery has proven to be an essential cultural hub, evidencing that local businesses benefit tremendously from art initiatives. The community’s support is reflected in themed offerings that enhance the overall experience of visitors and locals alike.
The establishment of the National Centre for Environmental Art marks only the beginning, with plans for future developments including a boardwalk, a sculpture trail, and a nature play space designed for children. Mott emphasized the foundation’s commitment to fostering a slower pace of engagement with nature and art, encouraging visitors to immerse themselves in observation and experience. This holistic approach seeks to create a meaningful interaction with the environment while promoting cultural enrichment in the region.
