Unlike his earlier brooding sculptures in steel and bronze, the pure white fibreglass and resin forms that have become Adrian Mauriks' recent signature speak of hope and of a potential. They suggest germination through their buds and searching organic tendrils (Source 2005, Construct 5 2007) balance and resolve with rectangular or rounded arches (Silence - 2002) and nature's inherent sexuality (Lovers 2003, Exotic Garden III 2005). The pure forms inspirit the same characteristics within the viewer.
As Mauriks reinforces in the poems that accompany many of his works, sculpture is thought made tangible - it is sourced from the mind. This self evident truth is an important one for Mauriks because the sculpture should ipso facto have the capability to communicate this optimism back to the source and stimulate it further. In this way the sculpture appeals to our own potential.When Compilation (2003) was loaned from the artist and installed on Deakin University's Burwood Campus in 2005 its effect on the university community was immediate. Staff and students were drawn from surrounding buildings gathered in curiosity and delight - a credit to the communicative power of Mauriks' work.
It therefore gives Deakin University Museum of Art great pleasure to announce the acquisition of Compilation to coincide with this exhibition.
Additionally, we welcome another acquisition Construct 1 (2005) donated to the Deakin University Art Collection and thank the artist for this generous gesture.
On behalf of Deakin University and the artist I would also like to thank Ken Scarlett OAM for his catalogue essay and for opening this wonderful exhibition.
Victor Griss, 2007
Acting Manager Museum of Art Deakin University
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