Taking stories as old as time to a contemporary setting in the heart of Sydney

If Sydney is Australia’s premier destination, then Circular Quay is the gateway to the Emerald City. Best known for its access to the harbour, with the Sydney Opera House on one peninsular and the sandstone terraces of The Rocks on the other, it’s a hotspot for tourists and history buffs alike.

Unless, of course, your notion of history extends beyond the past 250 years.

In recent years, there’s been a move to reflect a more layered notion of the past that better reflects First Nations’ stories – a history that stretches back thousands of years. As this part of the city undergoes yet another renewal process, developers have taken the opportunity to engage with Indigenous artists to integrate stories that are thousands of years old into some of the newest buildings.

The latest edition are art installations that form part of Sydney Place, a new casual dining precinct connecting Pitt and George Streets near Circular Quay.

Following on from his success at the Venice Biennale, Indigenous artist Daniel Boyd was invited to create an interactive art installation as an entry point to the dining space at Sydney Place. Working with architect David Adjaye, Boyd has designed a soaring steel canopy on the George Street frontage featuring a roof punctuated with round holes to reflect the constellations of the night sky.

The art installation by Daniel Boyd reflects the night sky

The full extent of Indigenous understanding of astronomy is only just beginning to be revealed but the artwork stands as a reminder that even in the centre of the CBD, there are larger forces at play.

“I was trying to create a building and space that wasn’t static and trying to use light to take the building into motion,” Boyd said. “It’s macro and micro at the same time, understanding that point in time and space.”

Boyd said the notion of layering histories over such a built-up site was one to be welcomed.

“It’s about acknowledging the history of the site in a more inclusive and equitable way,” Boyd said. “These opportunities to open spaces give First Nations people the chance to feel comfortable.

“They don’t have to grapple with the language of the built environment because it’s an open space that invites layers of association.”

Kamilaroi man Dennis Golding and fellow artist Louise Zhang also created work for Sydney Place in a collaboration using neon lights combined with traditional Chinese and Indigenous motifs.

Golding said both he and Zhang drew on their family experiences as migrants – Zhang’s from China and Golding’s from Gamilaroi and Biripi country – to create an artwork in the heart of Sydney.

This artwork in Sydney Place is a collaboration between Dennis Golding and Louise Zhang

“My family moved to Redfern for affordable housing, work opportunities and education and that’s where that community grew from the late 60s as families moved into the city,” Golding said. “We all worked on the rails. It’s that shared experience of being from somewhere else and coming to Sydney for work.”

The latest works in Sydney Place are part of the growing Indigenous art presence, which includes five integrated artworks Wiradjuri/Kamilaroi man Jonathan Jones created for the nearby Quay Quarter Lanes redevelopment, as well as the bara, or fish hook sculpture, by Judy Watson on the Tarpeian Precinct Lawn on the edge of the Royal Botanic Gardens.

Tarpeian Way, Royal Botanic Gardens features bara by Judy Watson. This public artwork is part of the Eora Journey. Photo: Chris Southwood/City of Sydney

Curated by Hetti Perkins, bara is part of City of Sydney’s Eora Journey, and is designed to offer greater recognition of Indigenous culture and heritage.

It follows an international review of cultural interpretation undertaken by Perkins and architect Julie Cracknell in 2010. Public art is one of four components of the Eora Journey, which also includes access to education and employment and training opportunities.

Italian fine wines are gaining momentum among Australian collectors and drinkers, with new data from showing a surge in interest driven by value, versatility and a new generation of producers.

Long dominated by France, the premium wine conversation is beginning to shift, with Italy increasingly positioned as a compelling alternative for both drinking and collecting.

According to Langtons, the category is benefiting from a combination of factors, including its breadth of styles, strong food affinity and more accessible price points compared to traditional European benchmarks.

“Italy has always offered fine wine fans an incredible range of wines with finesse, nuance, expression of terroir, ageability, rarity, and heritage,” said Langtons General Manager Tamara Grischy.

“There’s no doubt the Italian wine category is gaining momentum in 2026… While the French have long dominated the fine wine space in Australia, we’re seeing Italy become a strong contender as the go-to for both drinking and collecting.”

The shift is being reinforced by changing consumer preferences, with Langtons reporting increased demand for indigenous Italian varieties and lighter, food-first styles such as Nerello Mascalese from Etna and modern Chianti Classico.

This aligns with the broader rise of Mediterranean-style dining in Australia, where wines are expected to complement a wider range of dishes rather than dominate them.

Langtons buyer Zach Nelson said the category’s versatility is central to its appeal.

“Italian wines often have a distinct, savoury edge making them an ideal pairing for a variety of cuisines,” he said.

The move towards Italian wines also comes as prices for traditional French regions continue to climb, particularly in Burgundy, prompting collectors to look elsewhere for value without compromising on quality.

Italy’s key regions, including Piedmont and Etna, are increasingly seen as offering that balance, with premium wines available at comparatively accessible price points.

Nelson said value is now a defining factor for buyers in 2026.

“Value is the key driver for Australian fine wine consumers… Italian wines are offering exactly that at an impressive array of price points to suit any budget,” he said.

The category is also proving attractive for newer collectors, offering what Langtons describes as “accessible prestige” and a more open entry point compared to the exclusivity often associated with Bordeaux.

Wines such as Brunello di Montalcino and Nebbiolo-based expressions are increasingly being positioned as entry points into cellar-worthy collections, combining ageability with relative affordability.

At the same time, a new generation of Italian producers is reshaping the category, moving away from heavier, oak-driven styles towards wines that emphasise site expression and vibrancy.

“There’s definitely a ‘new guard’ of Italian winemaking… stripping away the makeup… to let the raw, vibrating energy of the site speak,” Nelson said.

Langtons is also expanding its offering in the category, including exclusive access to wines from family-owned producer Boroli, alongside a broader selection spanning Piedmont, Veneto, Sicily and Tuscany.

The company will showcase the category further at its upcoming Italian Collection Masterclass and Tasting in Sydney, featuring more than 50 wines from 23 producers across four key regions.

For collectors and drinkers alike, the message is clear: Italy may have been overlooked, but it is no longer under the radar.

Taking stories as old as time to a contemporary setting in the heart of Sydney

It’s a part of Sydney traditionally associated with Australia’s colonial past, but a cultural shift signals a more layered approach to history through public art

Italian wines are emerging as a serious contender for Australian collectors, offering depth, rarity and value as French benchmarks continue to climb.