The piece of Sydney history relocated to make way for the new Metro
By Linda Morris
Sixty years ago, the editors of the satirical OZ magazine caused a public storm when they orchestrated a clever “piss-take” on corporate modernist art and architecture.
On the front of its February 1964 edition, Richard Neville and two other Sydney “natives” were photographed pretending to relieve themselves in Tom Bass’ copper fountain, recently embedded into the granite facade of the newly opened Sydney offices of the P&O ocean liner firm.
Bass’s edgy, wave-like water fountain enlivened what the magazine editors decried as the building’s “architectural drabness”, and made for a useful urinal.
In the stunt’s aftermath, Neville and his fellow editors were charged with obscenity and fined 20 pounds each.
Fast-forward to the opening of the Sydney Metro this week and Bass’ famous Sydney fountain and two works by renowned sculptor Douglas Annand have found new homes near the new underground metro stop at Martin Place.
The three heritage pieces sit alongside six major site-specific works commissioned by Sydney Metro and Macquarie Group for the underground station and the office and retail development known as 1 Elizabeth.
Tina Havelock Steven’s Sonic Luminescence in the underground tunnel of Martin Place Metro.Credit: Steven Siewert
Together, these represent one of the biggest offerings of public art at a single CBD destination, according to Felicity Fenner, who was Macquarie Group’s curatorial adviser on the project and chairs the City of Sydney’s Public Art Advisory Panel.
“It is rare for site-specific public art to be rescued and reinstated, especially when it’s so embedded into the fabric of a building,” she said. “Usually when a building gets demolished, the art goes with it.
“But these were modernist artists making important works. Bass was probably the leading public artist at the time. Most of his works sit as relief sculptures on the side of buildings, but this was the first major sculpture in Sydney to bite into the very skin of the architecture. It was a brave move.”
Bass’ copper fountain was carefully levered out in three parts, crated and placed in storage along with the Annand works at a metro storage depot.
‘They looked after it … until the time came for the artwork to be restored and reinstated, and I think they have done an amazing job.’
Margo Hoeskstra, widow of artist Tom Bass
The artist’s widow, Margo Hoekstra, a sculptor in her own right, and adult children Belinda and Tim were consulted.
An initial condition report found signs of corrosion, material fatigue and marking, Macquarie Group’s Precinct Activation Director, Kate ffrench Blake said.
“None of the tubing linking the nozzles could be reused, and the original water tank was corroded,” she said. There was detailed discussion about how fast the water should flow in the restored fountain. A smart system was installed to control water pressure and filter for impurities.
The fountain’s copper surface was soda blasted, and a patina carefully applied to match the original. It was finished with several layers of protective wax.
Mikala Dwyer’s Continum.Credit: Steven Siewert
In all, restoration took three years from start to finish, before the fountain was installed just one block back at the same height the OZ magazine editors had found so convenient.
“We made a commitment to the family that it would be reinstated, and then worked closely with Sydney Metro to see that happen,” said ffrench Blake. “It’s an important work for Sydney and important that it be restored and maintained for future generations.”
Hoekstra was present for the unveiling in June: “They were very sensitive about removing the old works in the P&O building,” she said.
“They looked after it and they put them in storage until the time came for the artwork to be restored and reinstated, and I think they have done an amazing job. Good on them.”
Apart from the heritage pieces, One Elizabeth precinct features three major works by Mikala Dwyer which include two visually arresting suspended sculptures and a large tiled mural; a three-part work by Debra Beale consisting of finely worked copper inlays depicting fauna native to the tank stream and surrounds; and a large wall sculpture, Magic Circle, by Claire Healy and Sean Cordeiro.
Commissioned by Macquarie Group for the underground pedestrian tunnel, Tina Havelock Stevens’ tapestry of sound and light, Sonic Luminescence has proved a great hit with commuters.
Human-made sounds of steam trains, string instruments and singing can be heard, but also the land’s cultural heritage such as nature’s pre-colonial symphony of magpies, butcher birds, lyrebirds and owls.
Sydney Metro took its lead from London Underground and New York Subway to develop public artwork for all of its stations from Tallawong to Sydenham city link of the $21.6 billion railway.
Fenner said that internationally the provision of art had been found to make spaces safer and less prone to crime.
“People feel safer, and the art also fulfils a place-making role: ‘Meet you at the fountain.’ People are already attracted to the new precinct as an art destination, and for commuters it provides a layer of cultural texture and a sense of belonging,” she said.
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