Tom Bass (sculptor)

Over a twenty-five-year period this remained virtually the single focus of his work as he became the most sought after public sculptor in Australia.

While engaged with his public sculptures, Bass remained largely on the periphery of the evolving art scene in post-Second World War Australia.

...With every major commission Bass aimed to push the boundaries of public taste, giving his audience a lesson in the visual language of modernism.

When the work was unveiled, its indirect resemblance to a Parisian pissoir and its position opposite the French Airline office provoked a witty comment in the sixth edition of OZ magazine (1964) about the city's latest status symbol as a convenience for the people of Sydney and as a welcoming sign to French travellers: "there is a nominal charge, of course, but don't worry, there is no need to pay immediately.

With it they published a renowned satirical photograph which showed the fountain apparently being used as a urinal, with a caption which read "Pictured is a trio of Sydney natives P. & O.

Commissioned by AGC (Australian Guarantee Corporation) Australia in 1962 for AGC House, 126 Phillip Street, Sydney When the original building was completely demolished in 2002, the work was salvaged, restored and reinstalled by Investa Property Group into the Foster and Partners designed building in late 2005.

Redesigned by Bass for the iconic Sydney Cove building, the central figure represents the Goddess of Plenty who watches over the family figures represented by a mother, father and child, reflecting AMP's motto: Amicus certus in re incerta (a true friend in uncertain times).

In 1999, with the assistance of Mirvac, the sculpture was relocated to the north wall of Quay Grand Suites, adjacent to the Moore Steps, Sydney.

The Sisters express sheer joy and exuberance equalled by Bass's admiration of the Sydney Opera House.

Their deliberate placement by Bass on the path to the Opera House heralds this excitement for visitors on approaching this iconic architectural masterpiece.

After an intense career as a public sculptor, Bass felt that sculpture as a medium of social communication was losing its relevance.