Art often has a critical edge to it.
The cynicism in the sculpture is intended and along with the title may be used as a springboard into the work.
The text stamped onto the lower sections of the work is another springboard and again invites entry.
Ecological concerns are spelled out in the text. Negotiating your way into the piece may offer surprising connections. Engagement and participation are encouraged by a slow and contemplative passage through the sculpture.
Arousing to the mind, these forms are shapes of the primal landscape.
Content is of primary importance. Recent developments concerning the effects of ecological devastation worldwide and its potentially dire consequences on human, animal and plant sustainability has required a personal rethink, a change of direction and attitude towards creativity and the artwork process.
Trees and plants and animals are our travelling companions in time.
"During more than 3 billion years of evolution, the planet' eco systems have organised themselves in subtle and complex ways so as to maximise sustainability." (Fritjof Capra - The Web Of Life).
Just now the content of my work addresses ecological issues.
It is a once only opportunity, a matter of memory and morality and of creativity inherited from our watery ancestors.
Remembering to "live". To notice the trees, the clouds, the changing seasons, as well as the ever increasing process of miniaturisation and the immoral onslaught of inappropriate decisions made in corporate boardrooms of the world concerning unsustainable ecologically bankrupt attitudes.
Adrian Mauriks
Exhibited at Swinburne University of Technology, Lilydale Campus, Lillydale, Australia.
Exhibited in the Volume and Form International Sculpture Exhibition 1999, Singapore.
Private collection.
