Anna Korver is an established award winning New Zealand artist with a BFA in sculpture from the University of Canterbury. Korver works nationally and internationally, exhibiting, attending symposiums and completing commissions. Korver`s works are feminine in their identity and perspective, the fundamental concepts and feeling of the works inviting intimacy and personal connection. The forms conceal complex ideas about feminine roles and the projection of the inner self thru the outer form. Often abstracted and minimalist, they challenge what is...
Sculpture: 'Coat of No Arms - Artemis (nude bronze Draped statuettes)' by Anna Korver
The dress figure series encompasses a group of works, though light hearted and whimsical they are however highly complex and multi - layered using the dress as a symbol of Womanhood.Idealised Draped Bronze Classical Style Provocative Female Nude Figure Beautifully Mounted to go as a Wall Mounted statuette There is a magic power to clothing to Small Bronze after the Antique Nude Sculpture or Little Naked Bronze Goddess Sculpture, substitute for their owner, the absent portrait of one person. The woman`s "dress" has become so essential a part of her persona that it appears devoid of its owner. Like a ghostly stand in for herself, a second skin which has never totally assimilated to the person hidden under it but so integral to her that even when it was taken off, it retained something of the wearers being. In the gown we find ourselves, and we are as children taking on a role and playing at a part. We can be anyone and anything we perceive as the dress is the skin we choose to show to the world. This face is the mask, the outer expression of an inner destination. We collect many faces that come with memories of other times and places and people. We wear them again trying to emulate or relive people or times gone by. We illuminate ourselves to the world, project ourselves and others project an image onto us. In this context offering more personal emotions to the artist about heritage comes the coat of no arms. Caught frozen in the movement of a dance, the figures are fragmented as the memory cannot be fully recaptured or re-experienced. They reference belonging to a land for which you would take up arms to protect, except that in many instances women were excluded from doing this. They are about the artist as a New Zealander of English and Irish heritage and the strange feeling of some connection to a land you`ve never seen, a language, a traditional dress, a people and a coat of arms that are strange and distant. Instead she is an inhabitant in a land which is her home, but she is told is not her home. Why is it a human need to know ones past in order to know themselves in the present moment? What and where is the real and relevant history, when it feels more like an empty coat, or a coat that belongs to someone else, and slipping it on is like pulling on someone else?s history like some kind of imposter. Places leave an imprint on us just as people leave an imprint on the places they live and the things they own and home becomes the people and possessions we take with us on our travels. Similarly when buying second hand clothes there is a moment where the item goes from belonging to someone else; to belonging to you. Does it retain a past, the shape and memories of someone else molded into the lining?.
35 x 10 x 10 cm (height x width x depth)
approx: 1 ft 1 3/4 in x 4 in x 4 in
Coat of No Arms - Artemis (nude bronze Draped statuettes)
Classic french patina with green highlights
Indoors only (finish and/or material and/or size may be unsuitable for the garden)
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Peter de Sausmarez.
"I say that the art of sculpture is eight times as great as any other art based on drawing, because a statue has eight views and they must all be equally well made." Benvenuto Cellini Italian Baroque goldsmith and sculptor1500-1571