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Sydney Morning Herald
09-05-2025
- Entertainment
- Sydney Morning Herald
What we learn when we stop talking and let art speak
A tree lies on its side like a sleeping giant, its roots suspended midair as if torn loose by a storm. But the tree is made of cardboard, and instead of the earthy scent of soil, I'm struck by something sweeter, mustier – the smell of packing boxes, of trying to make a home in a place that feels bare and unfamiliar. It's a ritual that defines an era marked by uncertainty for so many of us. The sideways tree is Reflections/Habitations, a new sculpture by husband-and-wife duo Isabel and Alfredo Aquilizan. It commands the first room of the Bundanon Art Museum, part o f Thinking Together: Exchanges with the Natural World. From a distance, the work appears grand and impassive. But up close, it reveals a wild intricacy – sculptures within a sculpture: a miniature sailboat, a nest of shredded paper, a single flower with corrugated petals. The tree may stand alone, yet it belongs to a larger network, shaped by patterns that often slip past our eyes. Across from Reflections/Habitations, a monitor glides across the wall, playing a continuous stream of images: the rippled surface of water, a scrubby stretch of beach, the warm glow of sandstone. To make New Eyes – Old Country (2024), Robert Andrew, a Yawuru man from the Kimberley region, drew on a Bundanon residency, during which he gathered drone footage tracing the river's course. The kinetic video installation uses fragments of charcoal, collected from the site, to create marks and lines as it moves across the gallery wall, forming a cumulative drawing that slowly unfolds throughout the exhibition. The work suggests that to truly know a place takes time, and that certain forms of intimacy must be earned. In the next room is Horse Power, a 2019 video work by Tina Stefanou – the result of three years spent in the company of retired horses at Jocklebeary Farm in regional Victoria. The horses circle one another, nudge noses, drift apart, then return. They wear chainmail, and the clang of metal becomes percussive, hypnotic, drawing viewers into their rhythms, a sense of time unbound by work, performance or achievement. These are elderly horses, their value diminished, according to cultural standards. Yet there is something quietly profound in the way they invite us into an invisible language, one we can feel and respond to, even if we lack the words to name it. Thinking Together is about language as exchange – about how, when we stop shouting over one another, a different kind of dialogue can emerge. There are forms of communication that don't rely on verbs or nouns, our often broken tools of expression, but instead draw power from what can't be said. In Reflections/Habitations, Isabel and Alfredo Aquilizan evoke this idea through participation: visitors are invited to contribute to the sculpture, which references balikbayan boxes – packages filled with gifts, sent between Filipino migrants and their families as gestures of love and connection across distance. Near Horse Power, opposite a radiant painting – Kalyu (2014), created by the Martu community to map the intricate, interconnected water systems near Karlamilyi National Park in Western Australia and protest uranium mining – is Comfort Zone (2021), a video work by Thai-New Zealand artist Sorawit Songsataya. The piece centres on the kotuku, or Eastern great egret – an endangered species common in Thailand's rice fields, but rarely seen in Aotearoa, the edge of its climatic range. Blending nature documentary-style footage with a disquieting voiceover, the work poses existential questions about place, identity and what it means to belong in the universe. Loading The world, as once mapped by dominant systems, seems to be breaking down – but other kinds of knowledge are beginning to interrupt this terrain, if we can learn to tune into them. In Growth in the Shadows (2025), Keg D'Souza turns to mycelium networks – thread-like structures that wrap around tree roots, allowing fungi and plants to communicate, to exchange resources. In a Wardian case – a colonial-era terrarium – D'Souza has created a tiny ecosystem, gathered from Bundanon: moss, mushrooms and logs. The logs are fitted with clips that translate these silent conversations, the ones happening all around us, every day, just beneath the surface.
The Age
09-05-2025
- Entertainment
- The Age
What we learn when we stop talking and let art speak
A tree lies on its side like a sleeping giant, its roots suspended midair as if torn loose by a storm. But the tree is made of cardboard, and instead of the earthy scent of soil, I'm struck by something sweeter, mustier – the smell of packing boxes, of trying to make a home in a place that feels bare and unfamiliar. It's a ritual that defines an era marked by uncertainty for so many of us. The sideways tree is Reflections/Habitations, a new sculpture by husband-and-wife duo Isabel and Alfredo Aquilizan. It commands the first room of the Bundanon Art Museum, part o f Thinking Together: Exchanges with the Natural World. From a distance, the work appears grand and impassive. But up close, it reveals a wild intricacy – sculptures within a sculpture: a miniature sailboat, a nest of shredded paper, a single flower with corrugated petals. The tree may stand alone, yet it belongs to a larger network, shaped by patterns that often slip past our eyes. Across from Reflections/Habitations, a monitor glides across the wall, playing a continuous stream of images: the rippled surface of water, a scrubby stretch of beach, the warm glow of sandstone. To make New Eyes – Old Country (2024), Robert Andrew, a Yawuru man from the Kimberley region, drew on a Bundanon residency, during which he gathered drone footage tracing the river's course. The kinetic video installation uses fragments of charcoal, collected from the site, to create marks and lines as it moves across the gallery wall, forming a cumulative drawing that slowly unfolds throughout the exhibition. The work suggests that to truly know a place takes time, and that certain forms of intimacy must be earned. In the next room is Horse Power, a 2019 video work by Tina Stefanou – the result of three years spent in the company of retired horses at Jocklebeary Farm in regional Victoria. The horses circle one another, nudge noses, drift apart, then return. They wear chainmail, and the clang of metal becomes percussive, hypnotic, drawing viewers into their rhythms, a sense of time unbound by work, performance or achievement. These are elderly horses, their value diminished, according to cultural standards. Yet there is something quietly profound in the way they invite us into an invisible language, one we can feel and respond to, even if we lack the words to name it. Thinking Together is about language as exchange – about how, when we stop shouting over one another, a different kind of dialogue can emerge. There are forms of communication that don't rely on verbs or nouns, our often broken tools of expression, but instead draw power from what can't be said. In Reflections/Habitations, Isabel and Alfredo Aquilizan evoke this idea through participation: visitors are invited to contribute to the sculpture, which references balikbayan boxes – packages filled with gifts, sent between Filipino migrants and their families as gestures of love and connection across distance. Near Horse Power, opposite a radiant painting – Kalyu (2014), created by the Martu community to map the intricate, interconnected water systems near Karlamilyi National Park in Western Australia and protest uranium mining – is Comfort Zone (2021), a video work by Thai-New Zealand artist Sorawit Songsataya. The piece centres on the kotuku, or Eastern great egret – an endangered species common in Thailand's rice fields, but rarely seen in Aotearoa, the edge of its climatic range. Blending nature documentary-style footage with a disquieting voiceover, the work poses existential questions about place, identity and what it means to belong in the universe. Loading The world, as once mapped by dominant systems, seems to be breaking down – but other kinds of knowledge are beginning to interrupt this terrain, if we can learn to tune into them. In Growth in the Shadows (2025), Keg D'Souza turns to mycelium networks – thread-like structures that wrap around tree roots, allowing fungi and plants to communicate, to exchange resources. In a Wardian case – a colonial-era terrarium – D'Souza has created a tiny ecosystem, gathered from Bundanon: moss, mushrooms and logs. The logs are fitted with clips that translate these silent conversations, the ones happening all around us, every day, just beneath the surface.
Yahoo
28-02-2025
- Automotive
- Yahoo
Lewis Hamilton hits back at ‘older, white men' for telling him how to live
Lewis Hamilton has hit back at 'old, white men' such as Bernie Ecclestone and Eddie Jordan following recent criticism of his move to Ferrari, saying he 'welcomes the negativity' as he prepares to embark on a new chapter in Italy. In a wide-ranging interview for the March issue of Time magazine – which features on its 'Horse Power' front cover a white-suited Hamilton standing in front of a black stallion named Aroma, recreating the iconic Ferrari prancing horse – Hamilton discusses his career, the reasons behind his move to Maranello and his mission to introduce greater diversity at the Italian team. Hamilton argued that no one could put themselves in his shoes as there had never been anyone like him. 'Don't ever compare me to anybody else,' Hamilton said. 'I'm the first and only black driver that's ever been in this sport. I'm built different. I've been through a lot. I've had my own journey. You can't compare me to another 40-year-old, past or present, Formula One driver in history. Because they are nothing like me. I'm hungry, driven, don't have a wife and kids. I'm focused on one thing, and that's winning. That's my No 1 priority.' Hamilton endured a difficult spell at previous team Mercedes after losing out on what would have been a record eighth world title in 2021 on the final lap of the final race of the season in Abu Dhabi, in what was one of the biggest controversies in modern F1. The Briton's emotional win at Silverstone last summer was his first for 945 days. However, he insists he is 'more motivated than ever' to win an eighth title and told Time he could race on at Ferrari 'until he is 50' given the way he is feeling now. Hamilton dismissed criticism from the wider racing community. Former F1 chief executive Ecclestone told Telegraph Sport recently that Hamilton would 'not last two seasons' in Italy, questioning his motivation and predicting he would be walking into a hostile environment. 'I don't think Lewis will get the same attention at Ferrari,' Ecclestone said. 'Firstly, the team are happy with Charles Leclerc, his team-mate. Leclerc speaks their language [he's fluent in Italian], so they'll be looking after him. Even if Lewis does well, there'll still be a lot of enemies, because he has suddenly arrived.' Former F1 team owner Eddie Jordan, meanwhile, said on a podcast in December that it was 'absolutely suicidal' for Ferrari to drop Carlos Sainz from its line-up as they were so well-matched. 'I've always welcomed the negativity,' Hamilton said when asked about his doubters. 'I never, ever reply to any of the older, ultimately, white men who have commented on my career and what they think I should be doing. How you show up, how you present yourself, how you perform slowly dispels that.' Hamilton, who topped the time-sheets on the second morning of pre-season testing in Bahrain on Thursday, admitted he did have some apprehensions about moving to Ferrari, where diversity and inclusion is not as advanced as it is at Mercedes, thanks largely to his efforts over the last decade. He admitted that he had heard the racist chants directed at black footballers in Italy. 'I'm not going to lie, it definitely crossed my mind when I was thinking about my decision,' he said. 'Like in so many things, it's often such a small group of people that set that trend for many. I don't think that it's going to be a problem.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
27-02-2025
- Automotive
- Telegraph
Lewis Hamilton hits back at ‘older, white men' for telling him how to live
Lewis Hamilton has hit back at 'old, white men' such as Bernie Ecclestone and Eddie Jordan following recent criticism of his move to Ferrari, saying he 'welcomes the negativity' as he prepares to embark on a new chapter in Italy. In a wide-ranging interview for the March issue of Time magazine – which features on its 'Horse Power' front cover a white-suited Hamilton standing in front of a black stallion named Aroma, recreating the iconic Ferrari prancing horse – Hamilton discusses his career, the reasons behind his move to Maranello and his mission to introduce greater diversity at the Italian team. Hamilton argued that no one could put themselves in his shoes as there had never been anyone like him. 'Don't ever compare me to anybody else,' Hamilton said. 'I'm the first and only black driver that's ever been in this sport. I'm built different. I've been through a lot. I've had my own journey. You can't compare me to another 40-year-old, past or present, Formula One driver in history. Because they are nothing like me. I'm hungry, driven, don't have a wife and kids. I'm focused on one thing, and that's winning. That's my No 1 priority.' Hamilton endured a difficult spell at previous team Mercedes after losing out on what would have been a record eighth world title in 2021 on the final lap of the final race of the season in Abu Dhabi, in what was one of the biggest controversies in modern F1. The Briton's emotional win at Silverstone last summer was his first for 945 days. However, he insists he is 'more motivated than ever' to win an eighth title and told Time he could race on at Ferrari 'until he is 50' given the way he is feeling now. Hamilton dismissed criticism from the wider racing community. Former F1 chief executive Ecclestone told Telegraph Sport recently that Hamilton would 'not last two seasons' in Italy, questioning his motivation and predicting he would be walking into a hostile environment. 'I don't think Lewis will get the same attention at Ferrari,' Ecclestone said. 'Firstly, the team are happy with Charles Leclerc, his team-mate. Leclerc speaks their language [he's fluent in Italian], so they'll be looking after him. Even if Lewis does well, there'll still be a lot of enemies, because he has suddenly arrived.' Former F1 team owner Eddie Jordan, meanwhile, said on a podcast in December that it was 'absolutely suicidal' for Ferrari to drop Carlos Sainz from its lineup as they were so well-matched. 'I've always welcomed the negativity,' Hamilton said when asked about his doubters. 'I never, ever reply to any of the older, ultimately, white men who have commented on my career and what they think I should be doing. How you show up, how you present yourself, how you perform slowly dispels that.' Hamilton, who topped the timesheets on the second morning of pre-season testing in Bahrain on Thursday, admitted he did have some apprehensions about moving to Ferrari, where diversity and inclusion is not as advanced as it is at Mercedes, thanks largely to his efforts over the last decade. He admitted that he had heard the racist chants directed at black footballers in Italy. 'I'm not going to lie, it definitely crossed my mind when I was thinking about my decision,' he said. 'Like in so many things, it's often such a small group of people that set that trend for many. I don't think that it's going to be a problem.'
