Anna Korver is an established New Zealand artist with a BFA in sculpture from the University of Canterbury. Anna works nationally and internationally, exhibiting, attending symposiums and completing commissions. Anna is a regular participant in sculpture symposia and sculpture park exhibitions both locally and abroad. In 2018, Korver was part of an international sculpture symposia in New Zealand, Korea, Romania, Albania and Macedonia. Prior to this Korver had participated in sculpture symposia in Qatar, Montenegro, Cyprus, Australia, Denmark, Turkey, Iran and Costa Rica. The artist was awarded first prize for her work at sculpture symposia in Rotorua (2014), Whangarei (2012) and Coromandel (2008).
Public sculpture by Korver has been installed both in New Zealand and abroad, including in Romania, Albania, Egypt, Montenegro, Australia, Turkey, Iran and Costa Rica.
Korver’s work has been exhibited on multiple occasions at New Zealand Sculpture Onshore (Devonport), Sculpture on the Peninsula (Banks Peninsula) and Art in a Garden (Canterbury). Korver has twice exhibited as part of Shapeshifter at the Dowse (Lower Hutt), and has twice been a finalist in the prestigious Wallace Art Awards (2016 and 2018).

Anna enjoys this as a statement of human involvement with the environment:
"...the figure represents myself in varying states of tension and emotion but the new elements are recognising the structure, the strength and with that the weakness of the communities we are connected to."
Other developments in her works include a more masculine nature, developing elements of balance, symmetry and strength.
Anna works in wood, bronze, marble and other hard stone as well as cast glass.

Check out Anna's current symposium in Saudi Arabia here

Necessary protection

'Necessary protection is an exhibition of works essentially about movement. The works describe the human experience thru internalized and externalized perspectives using reoccurring symbols.
These pieces can be viewed as the deconstruction and reconstruction of the individual self via the symbolism of the vessel and the architecture. Each has a different incarnation inspiring feelings of separation, restriction or entrapment, armament and defence and in other examples - escape, shelter, sanctuary or protection. 
Though the boats and dresses appear to be empty they are both vessels also carrying the idea of memory. As in previous works Korver has again utilized skin as a medium in some of these pieces to draw a direct parallel to the physical body as a means of memory, thru scars and marks from age.
These objects in their original design seem illogical and impossible; dresses moving without the wearer, boats that seem un-seaworthy, stairways without connection... posing the question about the importance of the end point and giving validity to the trajectory of an unknown path.'