Back to her roots, Anneke explores her own past with this piece. As part of the Flight of Fancy series, Amandla is a Xhosa and Zulu word meaning "power". The word was a popular rallying cry in the days of resistance against Apartheid, used by the African National Congress and its allies. The leader of a group would call out "Amandla!" and the crowd would respond with "Awethu" or "Ngawethu!" (to us), completing the South African version of the rallying cry Power to the People!. The word is still associated with struggles against oppression. She is mounted on the shadow Africa has cast on Anneke life. Anneke uses the female form in heels to explore her struggles as a girl from Africa out of Africa. Her heart is reaching out from its past with the knowledge of injustices committed by her own people, yet trying to escape the shadows cast by her ancestors actions. If an emotional contradiction can be put to form, this piece is it.
Edition of 11.
As part of the Flight of Fancy series, this piece is of Anneke’s most recent exploration into the human emotion. She takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form to reconcile our emotion with our appearance. Balance within is a work that relates to that moment when we stop for a second, sometimes count to ten and just find ourselves in that moment. As the figure is precariously balanced on one leg, our inner-balance is often precariously balanced as well. For Anneke personally, this piece has been standing next to her bed, a reminder to start each day balanced.
Edition of 11.
As part of the Flight of Fancy series, this piece is of Anneke’s most recent exploration into the human emotion. She takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form to reconcile our emotion with our appearance. Balancing Act is a work that explores how we pivot on an emotion. How we hold on to certain arrangements, the balancing act involved in relationship and how easy it is for it all to come tumbling down. This piece appeals to her engineering mind and the movement it allows. Bronze.
Edition of 11.
This piece is of Anneke’s most recent exploration into the human emotion. As part of the Flight of Fancy series, she takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form inYoga fashion to reconcile our emotion with our appearance. Bent over backwards is a bit of a tongue in the cheek look at how far we are willing to please those around us.
Edition of 11.
As part of the Flight of Fancy series, this piece was hatched from a long ago vision and a modern day theme. The thought that women should have wings comes from dreams Anneke experienced as a Student. It was a theme reoccurring in drawings, sculptures and paintings. More recently the “superhero” theme has burst back into the global consciousness. We see them flying in and out of movies comics and TV. Anneke captures this image of years ago in a contemporary pose.
Edition of 11.
As part of the Flight of Fancy series, Anneke creates a representation of Charlie. Charlie is cheetah at the Wellington Zoo. Anneke and her friend Linley had an encounter at Wellington Zoo with Charlie. The encounter stirred such emotion within that it had to find form in bronze. During the recent exploration of shaping human form into human emotion, Anneke used the animal form and shaped it into our projection of human emotion onto the beast. We as humans believe that animals would feel emotion the way we do, we look at an animal that can run 60km/hour and think we know how it feels: proud- look at how fast I am going…. Yet it probably only feels hunger. Charlie as a piece is a mirror; we see what we think he feels. Charlie the Cheetah had subsequently passed away.
Edition of 11.
As part of the Flight of Fancy series, the concept in this piece was born in the Middle East. Anneke sculpted a marquette in Dubai as part of a presentation to The Dubai Municipality for a life size piece to be commissioned. In Arabic 7 names are used for Camels as they grow up. Anneke sculpted the mother and calve.
Edition of 11.
As part of the Flight of Fancy series, in the same spirit of the recent exploration of shaping human form into human emotion, Anneke used the animal form and shaped it into our projection of human emotion onto the animal world. We as humans believe that animals would feel emotion the way we do. Eagle Eye has a gaze, glare that looks into our souls. It forces us to ask the question of what he would see. Eagle Eye as a piece is a mirror; we see what we think he thinks of us.
Edition of 11.
This piece precedes the Fancy of light series. It was sculpted after the first time Anneke worked in Dubai. It celebrates the beauty and elegance of the female form. As one of Anneke’s earlier works, with posed reminiscent of a bather, she is highly detailed yet tall and slender. The work to follow builds on this theme.
Edition of 11.
As part of the Flight of Fancy series, she is a voluptuous figure reading lost to the world. She was sculpted as a wedding present to a friend, yet the opportunity to have her delivered has not yet arisen. She is an exploration of what Anneke feels for her friend and it touches on the study of the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. Anneke twists and bends the human form to reconcile her emotion with the appearance of the piece that portrays her friend. She captures the piece and calm that her friend pushes out to people around her. The viewer is allowed to experience this second hand.
Edition of 11.
This piece precedes the Flight of Fancy series, it was sculpted in Dubai while Anneke was living there for the second time. She returned to New Zealand with the mould to have it cast in New Zealand. It captures the spirit of the Arabian stallion with flowing lines.
Edition of 11.
This piece precedes the Flight of Fancy series, it was sculpted in Dubai while Anneke was living there for the second time. She returned to New Zealand with the mould to have it cast in New Zealand. It captures the spirit of the Arabian stallion with flowing lines.
Edition of 11.
As part of the Flight of Fancy series, this piece is of Anneke’s most recent exploration into the human emotion. She takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form to reconcile our emotion with our appearance. Exposed explores the thought of how much we hide from other’s view. This piece dares it viewer to open up, relax and let us see who they truly are. How comfortable we are with ourselves is mirrored in our reactions to the exposed.
Edition of 11.
As part of the Flight of Fancy series, this piece is close to home. As the Arabian horse is wind and grace, The Kaimanawa horses are a population of feral horses in New Zealand that are descended from domestic horses released in the 19th and 20th centuries. They are known for their hardiness and quiet temperament. In the same spirit of the recent exploration of shaping human form into human emotion, Anneke used the animal form and shaped it into our projection of human emotion onto the animal world. With Kaimanawa Horse Anneke explores our National self-image as New Zealanders and projects it onto these animals. She captures the inner-grace with a hardy no-nonsense exteriors and a toughness that shies for nothing. As a new-New Zealander she has a partly outsiders view and frankness that is shown in this piece.
Edition of 11.
As part of the Flight of Fancy series, this piece is close to home. As the Arabian horse is wind and grace, The Kaimanawa horses are a population of feral horses in New Zealand that are descended from domestic horses released in the 19th and 20th centuries. They are known for their hardiness and quiet temperament. In the same spirit of the recent exploration of shaping human form into human emotion, Anneke used the animal form and shaped it into our projection of human emotion onto the animal world. With Kaimanawa Horse Anneke explores our National self-image as New Zealanders and projects it onto these animals. She captures the inner-grace with a hardy no-nonsense exteriors and a toughness that shies for nothing. As a new-New Zealander she has a partly outsiders view and frankness that is shown in this piece.
Edition of 11.
As part of the Flight of Fancy series, making Ends Meet is of Anneke’s exploration into the human emotion. As part of the Flight of Fancy series, she takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form in Yoga fashion to reconcile our emotion with our appearance .Making Ends Meet is a bit of a tongue in the cheek look at how far we are willing to go to balance the books.
Edition of 11.
As part of the Flight of Fancy series, this piece is of Anneke’s most recent exploration into the human emotion. She takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form to reconcile our emotion with our appearance. Poised is using a dance pose and taking it to flight. The piece is a celebration of that elegantly executed leap, the knowing that we can balance on our toes and look good doing it. This piece is a the embodiment of the word “quality” it speaks of excellence in the arts, that moment where it all comes together at the right moment, perfectly.
Edition of 11.
This piece precedes the Flight of Fancy series, it was sculpted in Dubai while Anneke was living there for the second time. She was commissioned to sculpt 8 life size Falcons for one of the biggest developers in Dubai. Rural NZis sculpted in the spirit of the 8 life size falcons.
Edition of 11
This piece precedes the Flight of Fancy series, it was sculpted in Dubai while Anneke was living there for the second time. She was commissioned to sculpt 8 life size Falcons for one of the biggest developers in Dubai. Rural NZis sculpted in the spirit of the 8 life size falcons.
Edition of 11
As part of the Flight of Fancy series, the concept in this piece was born in the Middle East. Anneke sculpted a big piece in Dubai of a similar theme and came home with the story still fresh in her mind. This piece explores the spirit of the horse. In the same spirit of the recent exploration of shaping human form into human emotion, Anneke used the animal form and shaped it into our projection of human emotion onto the animal world. We as humans believe that animals would feel emotion the way we do. With Spirit of the Wind Anneke explores our spiritual projection on animals. In Arab mythology the wind was untamed over the desert sands. God gave it form to tame it. The form it was given was the horse. This piece captures that transformation between wind and form, capturing the movement.
Edition of 11.
As part of the Flight of Fancy series, this piece is of Anneke’s most recent exploration into the human emotion. She takes the human form and uses it to portray the inner-workings of the heart, creating a contra pose between internal and external. In magnification of day to day body language, Anneke twists and bends the human form to reconcile our emotion with our appearance. Within is a piece where she strips the skin of to see deeper into her own emotion. It is in nature introspective. Rather than viewing the world around her she looks at herself, explores what she thinks of herself. It the patination (colour treatment on surface) of these pieces she adds a layer of colour, commenting on the way others experience her at times.
Edition of 11.