Meet Adrian Fisher - Master of The Mirror Maze

The Maze As Sculpture

There are many parallels between the creation of a maze and a piece of sculpture.

Both art forms are first conceived in the mind's eye, to convey or celebrate an idea and to achieve a transforming experience.

Early discussions, sketches and photomontages may lead on to maquettes, prototypes and studio models, as the concept and detailed designs go through their numerous revisions. The practical aspects of fabrication and construction require mastery of the chosen technology and materials, while composition and colour are of paramount importance. The final result should intrigue, entice, engage and move its visitors.

The Maze Designer As Portrait Artist

As in any artistic endeavour, there is a limit to the resources of the artist himself to fund the creation of a substantial collection, particularly when his ideas keep running forward faster than the effort of bringing each idea to fruition. So at least part of the output must be used to generate revenue through fees, outright sale, rental, patronage or sponsorship.

Perhaps paradoxically then, in this modern age, the creative process still relies on that centuries old personal relationship of Artist and Patron, of portrait painter and sitter, just as much as in the Renaissance. The artist helps the sitter relax and express himself - and then like lightning he pounces and captures that spirit on canvas!

However the patron's input is also an important part of the creative process, again just as in portraiture, where a certain aspect of somebody's character will be emphasized.

The Artist & The Patron

For the maze designer, sparring to stretch and achieve a creative result with each successive owner is the overriding goal at that moment in time.

The modern day patron differs from his Renaissance counterpart in crucial ways and is today more likely to be the Director of a zoo or museum or the President of a theme park, but the fundamental creative relationship remains unchanged.

As with any artist, the work of a maze designer tends to evolve over their career, as one idea is developed and leads on to another.

The same landscape at the beginning and the end of a working life can engender radically different responses in the same artist. Indeed, originality and innovation are essential to the maze-making process.

As with all artists, the maze maker sees no artistic purpose in mass production of any one achievement, but prefers to work with each location to create a custom-designed installation.

Perpetual Quest For Innovation

In a repetitive world, the spirit soars when confronted with a unique example of a maze with appropriate symbolism, specially designed for its setting.

In the words of Adrian Fisher: "When prospective patrons look through my previous designs, much of what they see they can't have - but equally, whatever is uniquely designed for them will never be repeated."

In 1986, Randall Coate wrote "Seven Golden Rules For Making A Maze" which combined his characteristic enthusiasm, optimism and wit. His seventh rule stated: "Do not allow the cost of the maze to cloud your enjoyment of a creation which will bring pleasure to young and old for generations to come. You will have given our world of harsh reality and mindless speed a timeless oasis, a leisurely paradise, the substance of a dream."

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