Commissioned by the Commonwealth Bank for the World Trade Centre, George Street, Sydney, Australia.
Taking into account evidence of world mythological inventions i.e. human responses to the environment historically - as a record of human responses, you finish up with some fairly powerful images and forms that when used in an art work go straight to the heart of intent and therefore to a limited degree describe content. As for instance in "opus 10" you have the cloven foot, the "slightly reminiscent of a spiral" plant shape at the r.h bottom of the piece, the enclosed lotus shape, the wings and bird shape the directionally upward mobile cloud and of course the "Buddha eye", you put all this together and you have what? Impossible to say, but it does give you access to a being process that is akin to an elevated state of consciousness where nothing is any longer, specific, but all is general, connected and inter twined, to everything else. It simply becomes a matter of being and occupying your own centre.
How did it occur? How was the "thought" recognised as a form? I don't know. What I know is that things simply occur and you discover that something has been noted that you may use, somehow.
This event is a bit akin to the "fight and flight" syndrome, which is a furiously fast response to some kind of danger. From the point of danger awareness to the point of action is microscopically small, as time exists and is not a conscious response. Thinking, as such, does not occur, one simply responds.
This is the purest most effective process a human is capable of. The same or similar situation occurs when one is in a creative "fight and flight" mind set, one simply responds to impulses and there occurs, almost as an apparition, something, a form, image, sound, movement that did not come about by intellectual process but "is" something you just "know". This is then the most effective creative process a human is capable of.
Hence it stands first and the resulting manifestation is evidence of the most profound creative act, we are capable of, this is also why when a piece or image occurs like this, everyone recognises it as something one can identify with, as if it has always been there which suggests that the collective unconscious has something to do with this, this consequently removes the individual from that moment, the person (artist) is then only the facilitator. That person (artist) just has to be sharp and sensitive to living the "moment" and when a response is required "be there" ready to latch onto it.
Adrian Mauriks, 27 July 1995