Untitled Transmutations are renderings of the natural environment painted with charcoal sourced in the aftermath of a forest fire in Maroon Town, St. James, a community in the Cockpit Country Protected Area of Jamaica. The charcoal used in the paintings undergoes a physical and symbolic slippage between dystopian byproduct and essential fuel at the socio-economic, geopolitical margins on one end, to an artefact and record of more-than-human life and agency on the other end. These paintings exist in dialogue with the reforestation and community work of Anzinger’s environmental sculpture Training Station (2020 - present) to interrogate, intervene and transfigure the violent relational dynamics of capitalism and geo-politics on indigeneity and socio-ecological survival.

Catalysing art in service of sustaining more-than-human life, Untitled Transmutations receives inspiration from the phrase ‘and, surely, we’ll never die’, which Anzinger references from the refrain of Marcia Griffiths’ 1978 song Dreamland. At play in Untitled Transmutations is the regenerating power of Black female imagination— conjuring and cultivating livity, collectivity, innerscapes and landscapes of joy and resilience.