When I first interviewed El Anatsui, back in 2006, I was captivated by his use of found materials, form, and social context, but I consciously steered away from critical and art historical issues. To me, there was
a more interesting story that acknowledged the heart, particularly in the haunting sculpture Visa Queue (1992). Later, I was pleased to learn that Anatsui had been included in the main show of the 2007 Venice Biennale (and floored to see a long excerpt of my interview, which was published in the July/August 2006 issue of Sculpture, on his artist page in the catalogue).
During the Biennale, Anatsui’s work received a great deal of attention. Since then, his visibility and the level of his opportunities have only increased...see the entire article in the print version of November's Sculpture magazine.
Above: Balkan, 2012. Aluminum and copper wire, 260 x 320 cm