Chapter 23

Sayuri was punctual, as Rachel had expected, and a ‘VISITOR’ badge was easily obtained for her.

“The Gallery is quite extensive,” Rachel said, “Are there areas you’re interested in?”

Sayuri pointed at a poster for a calligraphy show. “No problem.”

[Calligraphy, or beautiful hand-writing, is considered the highest artistic achievement in many Asian cultures.

Drawn from the Gallery’s collection and enriched with a significant loan from the Islamic Arts Museum Malaysia, this exhibition showcases diverse calligraphic traditions in both religious and secular contexts, across a range of mediums from the ancient to the contemporary.

The art of writing using brush and ink is a marker of cultivation and character for educated women and men in China, Korea and Japan. In the Islamic world, where writing the Arabic script is primarily associated with the Qur’an, the practice of calligraphy is seen as a way to express piety.]

After over an hour, they went to the glittering Flowers and People – Gold 2015 show, an interactive exhibit. Each interaction with this work is unique as the flowers bloom and fade in response to the presence of viewers.

Another recent acquisition on display is Yasumasa Morimura’s series of eight photographs taken over the course of a night at the Prado Museum. The images recreate moments from the famous 1656 painting Las meninas by Velázquez – with Morimura playing all roles including Velázquez.

“It’s quite overwhelming!” exclaimed Sayuri.

“Well, let’s sit and have lunch and gather our energies.” And with that, Rachel led her to the Chiswick, the fancier of the two eating facilities. They had just been seated when a voice called “Rachel!” They turned and there was Sandra Wynne.

“Can you join us?”

“I’d love to.”

“Let me introduce Sandra Wynne, Sayuri. She teaches anthropology at Macquarie.”

“I am honored.”

“No, no. Not so formal. I am Sandra. And you are?...”

“Sayuri.”

“Sayuri is my brother’s girlfriend.”

“I’ve met Al. Doesn’t he receive his degree soon?”

“In December. But he may stay another year.”

“And you, Sayuri?”

“I am a visitor at the International Centre.”

“And I’m showing her the Gallery.”

“Have you been to ‘Our lands’ yet?”

“No. That’s for after lunch, along with David Stephenson.”

“You should actually go through it with Patrick. It’s really his area.”

Our lands is presented as a counterpoint to Sentient lands, also on display in the Yiribana Gallery of Aboriginal and Torres Strait Islander art. Sentient lands considers the figures who have shaped and given form to Australia, remaining as an animating presence within country today. Our lands takes a stronger stand and includes works that question, contest and provoke discussion about rights to land in Australia.

Works from the Gallery’s collection that explore the tensions, conflicts, suspicions and political struggles that are central to any discussion about rights to land in Australia.

“I don’t think I understand.”

Sandra was truly taken aback. “You don’t know who Patrick is?”

“He is Al’s brother-in-law, Rachel’s husband. I met him at dinner on Saturday.”

“We had a family dinner, there was no attempt at overwhelming Sayuri.”

“Oh. May I?”

“I think Pandora’s Box is open.”

“Unkind. But thank you. Sayuri, Patrick is a graduate in law. His interest is in Aboriginal rights. He is recognized by several bands in Queensland and here in New South and consults for the state Ministry. He is also quite unpretentious, except when he is irritated.” Sandra laughed. “He was the first time I met him, several years ago.” She shook her head. “I hope I’ve not spoiled things, Rachel.”

“No. I hadn’t wanted to embarrass Sayuri. And it’s hard for me ... we’ve known each other forever.”

“I am not embarrassed. But you were going to tell me about your thesis, not about your husband.”

“Oh. May I listen in, Rachel?”

“Of course. Simply, I want to look at the works of Max Dupain and of Fred Williams as Australian landscapists, working in different media.”

“Interesting,” said Sandra. “But how do you see Dupain as a landscapist?”

“Have you seen the Stephenson show?”

“Yes, just an hour or so ago.”

“Well, there you are. Over a half century after Dupain, David Stephenson subverts traditional approaches to landscape photography and alters the way we look at the world and consider our place within it. I think Max Dupain viewed humans as part of the landscape in a similar fashion. And Williams viewed the physical geography from the point of view of the Aborigine.”

“Interesting point of view. We will have to talk as you go on. But right now, I have to leave. Sayuri, it was a pleasure to meet you. Come see me at Macquarie. Rachel, can I pay part of this?”