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.
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Anna Glynn
Extinction Game - Norfolk Island Kaka
2020
Pencil and watercolour on Stonehenge 250gsm paper
95 x 62cm unframed / 120 x 80cm framed
'Extinction Game - Norfolk Island Kaka’ reimagines a historical portrait of an extinct Norfolk Island Kaka, surviving in captivity until 1851. The parakeet perches, a losing player.
The black and white chess board expresses the ‘game’ of survival.
Anna Glynn
Extinction Coat of Arms
2020
Pencil, watercolour and acrylic on Stonehenge 250gsm paper
210 x 127cm / 220.5 x 137cm framed
'Extinction Coat of Arms' creates a new national symbol. Glynn references and reimagines Australian historical images.
All the Australian fauna depicted in this work, are extinct. The design reinterprets our coat of arms. An intense red for the kangaroo and emu flanking the national plant, golden wattle.
Anna Glynn
Extinction Game – Red-Crowned Parakeet
2020
Pencil and watercolour on Stonehenge 250gsm paper
95 x 62cm unframed / 120 x 80cm framed
'Extinction Game - Red-Crowned Parakeet’ reimagines a historical portrait of an extinct Australian bird. This parrot was endemic to Lord Howe and is extinct since 1870.
The black and white chess board may refer to a game, to burnt and unburnt, to race, to colonial floorcloths, to finance (the French escheker), to ‘checkered’ alternations of good and bad.