Superimposition, Colonial Selfie, I’m Extant, They’re Extinct
2020 Unique Photomontage on 310gsm cotton rag 80 x 51 cm / 102 x 72 cm framed ‘Superimposition, Colonial Selfie, I’m Extant, They’re Extinct’ is composed of two layers: an original photographic self-portrait and beneath this diaphanous image is an image of Glynn’s watercolour self-portrait. Her body is infilled with her reimagined renditions of Australian colonial fauna paintings. All the native animals depicted are extinct.
$7,200
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Finalist 2020 Hurford Hardwood Portrait Prize
Anna Glynn
Eurotipodes - Colonial Capsize
2022
Photomontage on 310gsm cotton rag
No. 1 in edition of 5 plus 2 artist’s proofs
38 x 50cm / 57 x 64cm framed
In ‘Eurotipodes - Colonial Capsize’ a semitransparent horse hangs upside down, merged with a kangaroo in a red colonial landscape. The diaphanous layered landscape reimagines colonial paintings from the Mitchell Library, referencing time, ecological and cultural change. Two iconic creatures are joined. In this work Glynn is reflecting on what is an ‘Australian’ landscape?
Anna Glynn
Evening Shadows, Backwater of the Murray, South Australia, 1880
Digital photomontage on archival cotton rag paper
No. 1 in edition of 7 plus 2 artist’s proofs
76 x 56cm
Anna Glynn
Eurotipodes Awaiting – Kangaroo & Sofa
2023
Archival photomontage on cotton rag paper
Edition of 7 plus 2 artist’s proofs
100 x 84cm / 103 x 87cm framed
This work includes references to ‘Sydney Harbour Looking West’, 1848, by Jacob Janssen.
From archives and public collections Glynn digitally captured colonial paintings, furniture, sculptures, flora and fauna. Combining these images with contemporary nature photography, Glynn creates multilayered imagery. A world of fantasia, a place on the cusp of reality and imagination.