A slow morning. I love to spend time with my friends, with my family. It has to be hot, put it that way – the temperature has to be hot for it to be a lot of fun. There should be water, there should be swimming.
In another time in my life, I’d say I want to be working but right now, because I’m full-on in the studio, I’d rather just be at the beach and relaxing with my close people.
What are the ongoing themes in your work?
The female narrative has always been a really strong one because I was made so aware of it being unusual in this industry. It became partly a form of protest, partly a form of trying to change systems, and also it’s my perspective. So that’s been a constant.
The amount of travel I do has been a really big inspiration and had a huge impact on me in terms of works that explore the idea of home – if that’s an internal thing or an external expression as well.
Why did you decide to spend your time based in Benin for half the year and what impact has that had on your art?
I was outside New Zealand for over half the year well before I went to Benin, so I think I got the travel bug when I was about 11. I just thought I want to make a way for the art to take me everywhere.
The reason I ended up in Benin was I was working in Egypt on a big project where they chose one person from every country in the world, with three editions. This just happened to be the edition where my future husband was also working – we met and c’est la vie. We then decided to live in Benin for many reasons, but the life is just easier and freer.
It’s had a big impact on my work visually. In the figurative and feminine pieces, I started to bring in a lot of the colours and the clothing and the stars they wear over there. It’s vibrant, it’s alive, it’s fantastic.
There are limitations in fabrication and materials, which New Zealand is amazing for, so I’ve had to focus on the materials that I can find, like the ebony, which is quite beautiful and unique.
If you could travel anywhere, where would you go?
I would love to go to Iceland and some of the countries on the east side of Africa. In terms of places I’ve already been to, I’d go back to South Korea in a second. It’s so fantastic, I love it there so much. I don’t normally double up on countries but anytime someone invites me to South Korea or Italy, I’m on the plane like that.
What do you consider to be one of the biggest achievements of your career?
It’s hard to nail that down because different ones stand out for different reasons, but one that does stand out was the second time I went to Saudi Arabia. That one was a competition and they gave me the first prize, which was really good as a woman, for one, but also because the work I was doing [consisted of] abstract female figures.
The first time I went there, I also did a female form and was told it was the first time a woman had done a female form in public. I don’t know if that’s true or not, but those kind of moments are really important to me because that’s how I influence people the most – influence women to see other women doing jobs like this. It changes their perspective on what they can do in life and in society. So that’s been one of my highlights so far.
What will you be talking about at Art by the River?
I am going to talk about my background and about my public works and what’s taken me around the world. So I’ll talk about where I started and where I’ve come to, as well as some certain large projects and architectural projects as well. Also, how that all connects into my series and my narratives inside of that. I guess they’re the things you don’t really know when you see someone’s work – you don’t really know what’s going on behind everything so that’s important.
Anna Korver will give a talk at Art by the River on Saturday, February 15 at 1pm. Tickets for the talk are limited and can be reserved by contacting Richard on 021 287 4229 or emailing art@artbytheriver.co.nz.
Olivia Reid is a multimedia journalist based in Whanganui.
