Religiously working with oil on canvas, the aesthetic elements of Anna Glantz’s paintings are contrastingly scattered, divergent, yet distinct. Contorted female figures slump at dining tables, or stand at street corners, whilst the surrounding scene contends with battling perspectives and layers of imagery. Unsurprisingly, the artist draws on a heady milieu of references such as Italian Renaissance frescoes, contemporary advertising, remnants of Pop Art, Surrealism, as well as the American Folk Art of Ammi Phillips and Zedekiah Belknap which undoubtedly contributes to the magnetic cluttering of her canvases. Remarking that a work is ready once viewers are simultaneously “pulled in as much as they push back against the painting”, Glantz’s captivating pieces disorient viewers with their candy-sweet renderings of stereotypes, inverting facets of the feminine in heightened allegorical tones. ...
