Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Frances Keevil
Anna Glynn

Anna Glynn

Artist statement

Bio

Artist CV (pdf)

Artist website

I strive to create visually poetic work investigating the connection between humans, history, nature, land, place, physical and ephemeral. My diverse practice includes: multimedia, painting, drawing, moving image, sculpture, installation, photography, writing, music, sound and interdisciplinary collaborations between art and science. Some quotes about Anna’s work: "...Her sometimes surprising and disorienting combinations of historical and contemporary subjects insert history into the present. And the present into history. They remind us of just how wondrous and alienating the Australian landscape was, so puzzling and new it seemed almost the stuff of fairy tales." - Louise Anemaat, Executive Director, State Library of NSW “For much of European history, Australia was a distant concept – a land of mythical creations and fantastical forms. The great southern land was an unexplored place of imagination and desire... The contrast in imagery, and the wide swathes of sky and sea between…encourage us to consider the physical, cultural and emotional distance between Australia and England that was experienced by the colonists…” - Bronwyn Coulston, Director, Shoalhaven Regional Gallery "Through her interdisciplinary artistic practice and ongoing investigations of place and perspective through time, Anna finds way of challenging assumptions and what we think we know. Her work is beautiful, curious and provocative." - Marla Guppy, Chair South Coast Arts, Inc

Available Artworks

Artist showcase

Anna Glynn
Antipodean Wonderland Tableaux Stubbs Dingo
2017 Ink, watercolour & pencil on Arches paper 51 x 66 cm / 75 x 87 cm framed A fantastical reimagining referencing George Stubbs Dingo Kongouro from New Holland (1768–71) Joseph Banks sent a dingo pelt to London from the colonies and commissioned Stubbs to paint this new creature. Stubbs apparently had the skin sewn together and inflated it as his reference for the final painting.
Anna Glynn
Stubbs Kongouro 1770 in ballgown surveying anonymous Castle Hill landscape
2017 Ink, watercolour & pencil on Arches paper 40 x 60 cm / 66 x 85 cm framed Referencing ‘Government agricultural establishment Castle Hill, c. 1806’. The Castle Hill landscape has been massively cleared and altered. The hybrid kangaroo is taken from the first depiction of an Australian animal in Western Art, ‘Kongouro from New Holland’ by George Stubbs. The gown is from Ann Marsden in the Powerhouse Museum, Sydney
Anna Glynn
Colonial Hybrid Reimagined from Joseph Lycett - View of the Female Orphan School, near Parramatta, 1824
2017 Ink, watercolour & pencil on Arches paper 44 x 57 cm / 75 x 87 cm framed Referencing Joseph Lycett’s work, ‘View of the Female Orphan School, near Parramatta, 1824’. This is one of the very few surviving public buildings of its size dating from the early colonial period and is now part of Western Sydney University. The hybrid kangaroo creature is symbolically bearing witness to complex historical stories. Mitchell Library, State Library NSW
Anna Glynn
Antipodean Waltz
2018 3D printed heads, 3 silk dresses with graphite drawing, reimagined from 1822 Ball Gown, collection of Museum of Applied Arts and Sciences, Sydney. Encouraging reflection on the post-industrial revolution colonists, meeting the hunter gatherer society of the indigenous Australians. With these hybrid kangaroo figures, the interpretation of events by both sides is represented. Inspired by Indigenous rock art from the time of colonization, and scientific colonial drawings of corroborees, hunting and fishing. Glynn brings these two views together in this work.
Anna Glynn
Wildlife 1
2025 Wildlife Camera, Motion Sensor, Infrared Inverted Pigment photographic print on archival 310gsm cotton rag No. 1 in edition of 5 18.57 x 36cm Working at night with her motion-detecting, trail camera, Glynn records the behaviour and activities of crepuscular and nocturnal animals. In ‘Wildlife’, an inverted infra-red image, she places herself into the shared rainforest landscape, another curious playful creature!
Anna Glynn
...love kindness...walk humbly...
2020 Moving image/video single channel MP4 No. 3 in edition of 7 04:00 minutes Born out of Glynn’s response to the local catastrophic Black Summer, bushfires. In her studio surrounded by smoke she gave consideration to what was important to pack for evacuation. After the initial fires subsided, she began to record the blackened landscape, walking carefully through smouldering bush. In time rain fell and the charcoal trunks and ashen ground sprouted fresh new growth.
Anna Glynn
Marooned
2019 Moving image/video single channel MP4 No. 1 in edition of 7 07:00 minutes Created atop an extinct volcano in response to the Mt Kaputar Snail and Slug Threatened Ecological Community. Hyper-coloured vignettes pay homage to the most notable creature, a giant pink slug, the only element in the moving image work left in its natural colour. In 2019 massive bushfires roared across the mountain, decimating the habitat; great fears were held for the ecological community. However, during later rains numerous pink slugs were recorded.
Anna Glynn
Antipodean Nocturne | Extinction
2018 Moving image/video single channel MP4 No. 1 in edition of 7 07:00 minutes Through a dramatic sfumato effect, this work explores our relationship with the Australian landscape. Filmed from a rainforest eyrie overlooking the Pacific Ocean, the video and audio were recorded on a hot, humid and stormy summer night… thunder, lightning, the love calls of cicadas… elemental forces at play as the planet warms… a potent display of nature. Over the duration of the work, text is gradually introduced to a cataclysmic storm - a list of Australian animals extinct since European arrival in 1788.
Anna Glynn
Lost Species - A Folly, Pied Butcherbird in Mourning
2022 Moving image/video single channel MP4 No. 1 in edition of 7 03:52 minutes Glynn has animated and fractured her large-scale drawing ‘Extinction Coat of Arms’ depicting a reimagined Australian Coat of Arms into a kaleidoscopic folly, referencing colonial wallpapers. All of the Australian fauna portrayed are extinct. A layered soundscape includes field recording of the Pied Butcherbird remixed with ‘'Solecism' by composer Scott Buckley.