Despite its flaws, the beauty, and vibrancy of Sydney undeniable. From iconic man-made structures to sweeping natural features, Sydney’s culture is defined by a culmination of modernity and enduring tradition.
However, with lockout laws, constant corporate takeover and nanny state-esque policies that continue to dominate, it’s easy to feel like any sense of authenticity is being stripped.
Taylor Square’s Always was, always will be is a prime example of Sydney culture at its most stark and recognisable. Emblazoned on the wall at the corner of Oxford St, the piece by famed indigenous artist Reko Rennie acts as a symbol of great significance to the living culture of the Eora people.
As of November 20, the piece will be painted over – yet another blow to Sydney. Labor councilor Linda Scott is apparently “deeply opposed” and “Rather than stripping this building of public art and selling it off to the highest bidder, I’m yet again calling on the Lord Mayor (Clover Moore) to keep this building in public hands and use it to lead the revitalisation of Oxford Street.” Preach.
The geometric diamonds reference Rennie’s association with the traditions of north-western NSW, while the words “always was, always will be” is a marker of Aboriginal people’s ongoing connection to the land. Not only does the work act as a total marker of Sydney, but, is a constant reminder of the traditional custodians of the nation – an imperative part of our culture.
The piece was originally commissioned as City of Sydney’s Streetware Program in 2012 – a program in which street artists were partnered train stations and walls as canvases to create bold, political statements.
How long until Sydney becomes a total embodiment of George Orwell’s colourless and lifeless world of 1984? Enough is enough.
In other Sydney related news, the Hordern Pavilion might be on its last legs as well…
