Glynn is known for replicating objects of antiquity with histories that she has researched extensively using minimal materials and in a somewhat primitive manner. The works are not about perfect replication or recreating an object with equivalent material value; instead she is more interested in the subjective and historical contexts that imbue the originals with their collective—and in some ways, arbitrary—worth. Similar to her sculptural work, Glynn’s installations are composed of found and inexpensive materials and often index elements of political history, such as her installations that appear as public monuments. The underlying purpose of the installations is to engage her audiences both with the physical structure and with each other, providing a platform for social interaction.

Vessel (Ravaged, Looted, & Burned), 2013
Hardwood (Ash and Western Red Cedar) with bronze and steel hardware, rope
86 x 246 x 73 in. (218.4 x 624.8 x 185.4 cm)
Photo: Steven Probert

To Sow, 2016/2017
Eleven 3-D printed gypsum and nylon elements on powder-coated steel
15 x 78 x 4 in. (38.1 x 198.1 x 10.2 cm)
steel plate: 15 x 78 x 3/16 (38.1 x 198.1 x .4 cm)
Photo: Steven Probert

To See, 2016/2017
Seven 3-D printed gypsum and nylon elements on powder-coated steel
15 x 77 1/2 x 4 in. (38.1 x 196.9 x 10.2 cm)
Photo: Steven Probert

Installation view, The Myth of Singularity
Paula Cooper Gallery, New York, 2017
Photo: Steven Probert

Installation view, The Myth of Singularity
Paula Cooper Gallery, New York, 2017
Photo: Steven Probert

III, 2010
RECLAIMED WOODEN PALLETS
16 X 27 X 27 FEET

On the Problem of a Universal History [Crystal Palace Park], 2018-2021
single-channel video
16:9, color, sound
19 mins 32 secs

Afterimage: Cuzco (Golden Maize), 2019
red sculpture wax, gold mica powder, plaster, steel, stucco, burlap and wood
101 x 97 x 73 in. (256.5 x 246.4 x 185.4 cm)
Photo: Steven Probert

Open House
Cast concrete
Photo: James Ewing, Courtesy of Public Art Fund, NY