What if your passion project was always something more?

The excerpt below is taken from a recent conversation between Theia Gabatan and Sagalee Omer on the Blackbird pod, Wild Hearts. Open a blank page or grab a nearby pen - you’re going to want to write this one down.
July 15, 2026
Bella Allen

We see a lot of passion projects at the Foundation. Many of them start small. Sketches of exhibitions in notebooks, Raspberry Pis soldered together in a haphazard manner, a debut short film captured in palettes and dream locations. Each a reflection of their author and ready to outgrow the pages and screens that they were sprouted from.

So what happens when these projects want to become something more? More than just the thing itself.

More than a rough sketch of an exhibition.

More than a short film.

More than a prototype of a haptic glove.

What happens when it’s no longer just the thing I work on in my spare time, but something that draws others in? A magnet that pulls in kindred spirits and eventually builds a living, breathing community.

When it’s no longer just a rough sketch of an exhibition, it’s facilitating connection.

No longer a short film, but a platform for women and non-binary filmmakers to find their place in the industry.

Not just a haptic glove, but a hardware community for students, engineers, makers and entrepreneurs.

Do you look back on those early days and think, how did we get here? Or do you know, deep down, that this evolution was inevitable? This thing was an extension of you all along, ready to be unleashed into the world as an experience, a solution or a catalyst for others to find their own thing.

When I think about this evolution in human form, I think of Sagalee Omer.

Before his work at Shooters Shoot, before his work with LOCATIONest, before his introduction to the Foundation, he was Sagalee. A kid who believed that his experiences, his identity and his purpose could be more than just things, they could be drivers of change. Change for his community, his family, his younger self.

The excerpt below is taken from a recent conversation between Foundation Grant Lead Theia Gabatan and Sagalee on the Blackbird Ventures weekly pod, Wild Hearts. In this guest appearance, Theia and Sagalee discuss measuring social impact, enriching community engagement in 2026 and whether being labelled a ‘founder’ even justice to the work he’s pursuing.

It’s hard to describe the energy that’s felt between these two conversationalists. Their rapport is unmatched and their exchange dances in perfect rhythm.

Open a blank page or grab a nearby pen - you’re going to want to write this one down.

Sagalee Omer and Theia Gabatan recording a podcast for Blackbird Ventures pod, Wild Hearts
by
Bella Allen

Family and ‘the voice’

Theia: Sagalee, before we get anywhere else, I want to start with your name. Sagalee means the voice in Oromo. I remember reading your application and that was the thing that really resonated. And so much of your work, LOCATIONest, Shooters Shoot, Council Culture, is about building platforms and infrastructure for different voices to be shared. When did you first realise that your name was the job?

Sagalee: Yeah, beautiful question. So for me, when did I first realise it was the job? I think, to me, I think of a job as purpose, right? When my mother started to tell me what that name really means, that's when things started to click. I looked back and I'm like, okay, you know what? I feel like I do showcase moments where I utilise my voice or focus on platforming other people's voices.

To give you an exact moment, it was when I came back from my long trip in Ethiopia. I've gone back plenty of times, but there was this one specific trip, the end of 2018. If you're Ethiopian, you probably have the same experience where in December, January, your family's going to throw everything in the suitcase and you're going to spend a couple months back home over the summer school holidays.

For some reason, this time, it was the first time we went back to Ethiopia after high school and it changed a lot for me, it opened my eyes.

From that moment is when I started to dig deep and really try to figure out even more, *‘what does my name mean to me'…*This is how I've got to this stage I'm at.

- - - - -

The mirror

Theia: You talk about moments in your childhood when you were in front of a mirror. Now looking back as an adult at those moments, what do you think that 10 year old was actually asking?

Sagalee: I love the way you frame that because I would have started by answering in a way of what my mind was going through at that time. But I'm going to answer in a way of ‘what I see from my age now to what that young person was feeling’.

So to first explain it, I have to tell you what those moments looked like.

Growing up in Werribee, you know, 2004, 2006, 2008, around those periods, there was no such thing as a Black kid living there. It was very rare. I went to a whole primary school that had literally no Black people... Nobody was looking like me. Nobody was talking like me. Nobody understood what Eid was. Nobody understood what it was to be a Muslim, except for the negative media. So I used to look in the mirror.

Even before I got to the stage of looking in a mirror, kids would look at me and say, 'Why is your ear so big? Why are your lips so big? Why is your hair like that? Why is it so rough? Why are you so dark?' Sometimes I used to feel a certain way when getting asked those questions. I did understand some of it was just genuine curiosity, but then there's also that line of where it's a bit more intentional to try to hurt somebody. And that's when I used to look at the mirror and be like, ‘why is my hair like that? I need to figure out how to make my lips smaller like everybody else's, or my ears smaller than everybody else's’.

Now, looking back though, when I see a kid like that, who's, I guess, feeling that way or being so confused, I understand that... If I'm in a room with people that don't understand me, they're going to consider me somebody less of. So it's just the environment. And it was never to do anything with me or who I am or my colour. It was just my environment.

There's a blessing that comes out of these moments, right? I think for me, I learned a lot of skills such as trying to understand people... But the reality is God made us who we are and we're perfect. And we shouldn't let somebody else decide that. So that's my experience of how I felt back then.

Mum

Theia: Before we get into your work and what you've done, I'd love to know who are some of the key influences of your work that you think have shaped the work you're doing now?

Sagalee: Yeah, definitely. So there's been influences growing up in so many different areas, right? For me, it was Kyrie Irving. I really love Kyrie Irving. He's an NBA player. He's one of the best point guards in the world and he's born in Melbourne... I remember this one time he came to Melbourne in his early career in the NBA and my mum did a whole night shift but still took me on a train to Foot Locker in the city to meet him. Didn't end up meeting him because the line was so long. I managed to take a photo of him holding a subway, walking to his car with his dad and I posted it like ‘I just met Kyrie Irving’ even though I technically didn't. But I really love his mindset off the court. So that was a big influence for me.

But in terms of the years, in the last six, seven years, that really influenced me were people such as Don Miguel Ruiz, who's the author of The Four Agreements, which I preach about to every human being to this day. I still buy books for people to this day as a gift… As well as that, my mother. In terms of outside, I think when you grow up without having maybe a male figure, you look at people online, right? For me, Nipsey Hussle was very influential with the way he thinks about things. J. Cole as well. I like J. Cole's point of view about being perfect who you are. He has this one song called Crooked Smile, I think that's an affirmation type of song where it just reminds you, you know.

There's so many. There's so many individuals that I've met on the street. My grandpa, but again, my mum's the biggest influence.

The engine

Theia: Each of these different projects that you've run, they're all kind of representative of different parts of your identity, different parts of your life. They're basically like outward expressions of the things that you care about. Like for Council Culture, it's the influence of your mum and therapy and journalling. Similar for Shooters Shoot, it's the influence of sport. Better Cycles is about kids going out cause you had an active childhood and going out into your neighbourhood. LOCATIONest is this really incredible vehicle for your curiosity as a person and your interest in storytelling. All of these things, they seem like separate projects, but actually to me, it feels like it's the same engine, just like running in slightly different directions and dimensions.

I'd love to ask you, when did you realise that you're actually not working on separate projects? Because to me it sounds like these are the founding stages of building a company.

Sagalee: I get what you're saying, correct me if I'm wrong, but what you're saying is that a company is one full body that has the same mission?

Theia: Yeah. You’ve got one mission going forward and all of these things are different initiatives working towards a very similar mission.

Sagalee: So in a way, I'm focussing on the things that I would have loved to have in my life growing up or have supported me or impacted me, like the platform to have conversations and hear other people's worlds. Cause there's a quote, ‘it takes a village to raise a child’. So like that platform of different people on LOCATIONest is that village where if you go on it, there's a catalogue of different stories, where you feel like you can relate…

What I'm trying to say is that like that, as well as having bikes, as well as having the opportunity for free therapy, you know, learning how to journal at a very young age, you know, having a space where there's a massive event where you're showcasing your talents and your community, where people look like you. For example, I'm Muslim and a lot of events don't have an area to pray, and a lot of people feel a bit uncomfortable to pray anywhere. For me, I could pray in the corner, and still be proud regardless of who might walk past, but for these young people, they might feel uncomfortable. So like, this is kind of like creating a world where that younger me would have loved to be in.

You're right, that's my mission, to heal all the parts that I had growing up… It is one engine at the end of the day. It's my lived experience making all these things. I'm just trying to have some creative twist to it. So you're right, that makes me think a bit more like how it's more for my younger self that I'm doing these things for. So shout out to you actually. [Sagalee and Theia laugh]

Listen to the full episode | Learn about Shooters Shoot

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Bella Allen
written by
Bella Allen
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Exploring New Creative Frontiers: Into the Metaverse with Ivan Medrano


We talk all things metaverse, diversity in art, creativity and digital fashion with two-time Protostar alumni, Ivan Medrano
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The first issue of Ivan's digital magazine: The Independent Variable
interview with ivan merino
by Theia Gabatan

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“I’m really excited about how we can use the metaverse to challenge ethnographic practices within the art world. Within our institutions, there are so many instances in which people of colour have been put into narrative boxes.”

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The first issue of Ivan's digital magazine: The Independent Variable
interview with ivan merino
by Theia Gabatan

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“I’m really excited about how we can use the metaverse to challenge ethnographic practices within the art world. Within our institutions, there are so many instances in which people of colour have been put into narrative boxes.”

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