In history, the iconography of Western sculpture has presented two distinct aspects of the standing figure: a figure about to move, and a figure standing still. The ancient examples in Egyptian and Greek art present any number of upright figures testing the limits of physical expression, through the positioning of the hands and the legs, as well as the directional facing of the head.

Movement in the broadest sense can define the limits of formal expansion to create continuous lines that infer gestures and expression through limbs of figures. The anthropomorphic element becomes embodied in more abstract representations, while with realism, movement is directly acknowledged within the postures we are familiar with. And this can be shown organically, or as orchestrated movement in line and form.

This selection of sculptural works capture latent energy and spirited movement: from the first flush of life in a newborn to the elegant articulation of Abstract Form and the lithe grace of Bird. In between, any number of Anna’s female torsos captures characteristics of sensual movement, incorporating drapery, instinct, power, energy and repose. It is an imaginative range of what it means to move, to live, to absorb, extract and release.