THE controversial Boonji Spaceman is expected to be installed by July, leaving the future of the “Kebab” sculpture murky (“Bid to save The Kebab,” Voice, March 15, 2025). 

Advocacy group “Save the Kebab” says it’s disappointed by the decision. 

The group is lobbying for the Ore Obelisk sculpture, known as the “Kebab”, to be repaired and reinstated after sitting in storage for four years.

Boonji is set to be temporarily installed on the Kebab’s pre-existing plate in the Stirling Gardens for 12 months. 

Save the Kebab campaigner Felicity Johnson received an email from the City of Perth on Wednesday telling her planning for Boonji’s installation is “still underway” but the installation is “expected to commence prior to the new financial year”.

Ms Johnson said the decision was “in direct contradiction of the council passing the motion to report on the condition of the Ore Obelisk and despite the public outcry.” 

Curator and Save the Kebab campaigner Helen Curtis was “gobsmacked” when she received an email from the City telling her the Kebab was of “little significance” in the context of Stirling Gardens.

The finding was made by an external contractor working on a heritage management plan for Stirling Gardens in 2020. 

The latest news comes after a back-and-forth between Save the Kebab and the council.

Ms Curtis submitted 24 questions to the City’s March meeting, but says the responses were evasive and sometimes plain wrong. 

The questions were tabled, and answers were later provided in the meeting minutes.

Save the Kebab later issued a release questioned the City’s acquisition of Boonji, saying there was a “pattern of opacity” in the project. 

The response claims Brendan Murphy’s “mass produced” Boonji sculpture breaches the City’s Public Art Policy on 10 grounds, including the criteria of being an authentic and original work.

Not original

“This work is neither authentic (in the sense of being unique to Perth) nor original (as it exists in multiple global locations),” the response read.

It also says there is “no evidence” that expert advice from the City’s Culture and Arts Advisory Group or Elders Advisory Group was sought before accepting Boonji as a gift from the artist. 

The response went on to critique the City’s use of the Public Art Strategy. 

“The strategy is being selectively referenced and systemically ignored,” it said.

Ms Curtis says Save the Kebab does not want to be an “annoyance” to council but does want “the elected members to see how reasonable the campaign is and the argument is”.

“Imagine the message it would send if the City of Perth restored the Obelisk and the Arch to their rightful places,” she said, referencing another public artwork that’s ended up in storage (“No cash to fix Arch, but plenty to splash on Boonji,” Voice, March 22, 2025).

“That is real leadership. In a time when so much feels uncertain, this would be a powerful act of cultural pride, civic care, and forward-looking optimism.”

Save the Kebab is launching a website to engage the local community in the story as it progresses. 

“We’re launching this website so the people of Perth can access the full story about the Ore Obelisk, its history, and why it matters,” Ms Curtis said. 

“The community deserves transparency around how our public art and heritage are being handled.”

“We’re also encouraging people to contact the City and their elected members, politely, and let them know what they think. 

“There’s a proforma letter ready to download, with all the details on where to send it.”

The website can be found at savethekebab.com

by ELOISE BUDIMLICH