Huge 7m-tall graffiti covered astronaut unveiled in Perth
The long-awaited BOONJI Spaceman was officially unveiled out the front of the Perth council house this morning, where it will remain for the next year.
The 'show stopper' Spaceman was unveiled to the tune of Around the world by Daft Punk at it's temporary home at Perth's Stirling gardens.
The 7m-tall blue spaceman, titled Lightning, is covered in graffitied words that former Lord mayor Basil Zempilas said reflected the city.
'Words like ambitious, friendly, beautiful, City of light, are represented.' he said. The Boonji Spaceman artwork at Stirling Gardens. Credit: Riley Churchman / The West Australian
Mr Zempilas said that the spaceman was 'hugely impressive' and will be a drawing point for people in Perth.
'People are going to come and have their photos, Instagram this, talk about Perth and push Perth on their own channels,' he said.
City of Perth Deputy Lord Mayor Bruce Reynolds said that the Spaceman pays homage to the Perth City of Light origin story.
'Perth became known as the City of Light following American astronaut John Glenn's historic triple orbit of Earth in 1962, during which Perth residents and businesses left on their lights, shone torches to the sky and lit lanterns to make the city visible in space,' he said.
'BOONJI Spaceman is a tribute to our unique story and will no doubt become another must-see piece in the City of Light,' Cr Reynolds said.
Renowned contemporary artist Brendan Murphy, who's based in the United States, donated the sculpture to the city.
'Art is an essential, it's not a luxury its something that brings us together,' he said.
'It's not something that I normally do, I'm not in the business of giving my art away.
'However when Basil and I met I felt his passion for the city and the people of the city.
'It's one of the best things I've done in a long time.' Contemporary Artist Brendan Murphy speaks at the unveiling of Perth's Boonji Spaceman. Credit: Riley Churchman / The West Australian A closer look at the Boonji Spaceman. Credit: Riley Churchman / The West Australian
Perth has now joined six other cities across the globe to own a personalised BOONJI sculpture with the others installed in New York, London, Washington D.C., Riyadh, Mallorca and Oslo.
Although the artwork was donated, The City of Perth budgeted $250,000 for the transportation and installation of the Spaceman.
The transportation process of the 1,365 kg carbon fibre and steel giant took 12 months and involved engineers to ensure a safe trip from Miami.
Despite local outrage and on-going petitions, the installation still went ahead.
Followers of the social media profile, 'savethekebab' shared their frustration and disappointment online.
'$250k that could have supported a local artist to create something more relevant that is unique to us,' one follower said.
The sculpture will live where the sculpture Ore Obelisk once stood, but was uninstalled in 2021 due to safety reasons. It is currently in city storage.
'It's standing where Ore Obelisk stood for 50 years - a work that actually meant something to this city.' another follower said. The Ore Obelisk in its heyday. Credit: Museum of Perth Facebook / RegionalHUB
Mr Reynolds said that a notice of motion was put forward to the city to reassess what to do with the art pieces currently in storage.
Mr Murphy will be displaying his other artworks at his 'blockbuster' Australian solo exhibition at the end of May at Gullotti Galleries in Cottesloe.
The BOONJI Spaceman will stay at Stirling Gardens for 12 months and is anticipated to find its forever home in another location in the city, which is yet to be confirmed.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Advertiser
2 days ago
- The Advertiser
Lange, Brosnan, Bates: performances like these never get old
This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch.
Perth Now
2 days ago
- Perth Now
Legendary musical set to bring feline magic to Perth crowds
Musical theatre performer Gabriyel Thomas has taken dogged dedication to the next level to make her Jellicle CATS dream come true. During the final weeks of Perth's Sister Act season — where she played Michelle and alternated the role of Deloris Van Cartier — Thomas would spend her weekdays in Sydney-based CATS rehearsals and weekends on the Crown Perth Theatre stage. While that is a lot of frequent flyer points, the 29-year-old said she would have done anything to be in the 40th anniversary Australian tour of Andrew Lloyd Webber's famous musical based on T.S. Eliot's Old Possum's Book of Practical Cats. Not only is the Ohio-born performer in the record-breaking musical, but she has landed the role of former glamour cat and now ostracised feline, Grizabella. Gabriyel Thomas will play Grizabella in the production of Cats that will come to Perth later this year, at Crown Perth. Credit: Ross Swanborough / The West Australian 'My introduction to musical theatre was CATS the musical,' Thomas said, laughing at the full circle moment. 'It's crazy how life plays out that way but my mum just randomly brought home the 1998 VHS one day and from that moment on, I just remember being hooked. 'I don't even know if I would be a performer if it weren't for CATS, which is so crazy that I'm in this rehearsal room now for this show.' Thomas will star in the production alongside Todd McKenney, Mark Vincent, Lucy Maunder, Des Flanagan, Jarrod Draper, Leigh Archer and the rest of the talented ensemble. The show opens in Sydney from June 17 before the tour reaches Crown Theatre Perth on November 8. The tour reaches Crown Theatre Perth on November 8. Credit: Ross Swanborough / The West Australian 'I think the thing that's set apart this experience from any other rehearsal experience is the fact that everyone who is teaching the show is someone who has been a part of the CATS world for years,' Thomas, who is based between New York City and Melbourne, said. 'They love the show, and they have so many different specifics and nuances they're able to bring into the rehearsal space that helps us as actors get into the mindset and get into the world of the show. 'It's just been a magical room, because the people who are teaching the room have already brought the magic there, and they just kind of hold our hand and show us how we can bring that magic to the stage.' CATS is at Crown Theatre Perth from November 8. Ticket presales start June 10, with general public sales from June 13 at
Perth Now
4 days ago
- Perth Now
David Beckham to finally receive a knighthood
David Beckham is to receive a knighthood. The former England player celebrated his 50th birthday in May, and on Thursday (06.06.25), it was revealed that he will be confirmed as 'Sir' in The King's Birthday Honours list next week. David has been married to former Spice Girl Victoria Beckham - with whom he has Brooklyn, 26, Romeo, 22, Cruz, 20, and 13-year-old Harper Seven - since 1999 and The Sun also reported that she will become known as Lady Victoria Beckham once her husband is knighted. David will join a select list of his fellow sports stars who have already received the honour, including the likes of the late Sir Bobby Charlton and former Manchester United manager Sir Alex Ferguson. According to the outlet, David "narrowly missed out" on receiving a knighthood in 2024, and the honour instead went to former England manager Gareth Southgate. In 2003, he was given an OBE by the late Queen Elizabeth for services to football. The former Premier League star has a long history of charitable work, which Honours Committee officials will have considered before deciding to bestow him with the honour. At the time, he said: "I'm excited to be working with The King's Foundation and to have the opportunity to help raise awareness of the charity's work. "I've always been keen to help young people to expand their horizons and I'm particularly looking forward to supporting the Foundation's education programmes and its efforts to ensure young people have greater access to nature. Last year, David was made an ambassador for The King's Foundation- which aims to teach and demonstrate in practice those principles of traditional urban design and architecture - and at the time he admitted that it was an 'inspiring' experience for him. He said: 'Having developed a love for the countryside I'm also on a personal mission to learn more about rural skills which is so central to the Foundation's work. 'It was inspiring to hear from The King about the work of His Majesty's Foundation during my recent visit to Highgrove Gardens — and compare beekeeping tips.' Prior to that, he worked with the Chelsea Pensioners amid the COVID-19 lockdowns and was appointed a UNICEF Goodwill Ambassador more than two decades ago.
