Lost & Found
I came across this drawing from yesteryear………..
Nothing for Me.
Glenn Walls. Ludwig Mies van der Rohe designed nothing for me, Ludwig Mies van der Rohe, Barcelona Pavilion, 1929), Digital Print, 2011
Shot on location at Ludwig Mies van der Rohe, Barcelona Pavilion (1929), Barcelona, Spain. September 2011
Superlost Again 2011: Theoretical Book Covers
Democracy in America. From barbarism to decadence without civilisation in between. Perspex on wooden board. Version 1, 29 x 42 cms, 2011
If you are not too long, I will wait here for you all my life. Perspex on wooden board. Version 1, 29 x 42 cms, 2011
Bigamy is having one husband to many. Monogamy is the same. Perspex on wooden board. Version 1, 29 x 42 cms, 2011
Everything Popular is Wrong. Power and Participation in Contemporary Architecture. Perspex on wooden board. Version 1, 29 x 42 cms, 2011
Chronic Psychoses and Recovery from Modernist Theory. Perspex on wooden board. Version 1, 29 x 42 cms, 2011
All art is quite useless. New Directions in African Architecture. Perspex on wooden board. Version 1, 29 x 42 cms, 2011
Superlost Again 2011
John Buckley Gallery
13 July – 6 August 2011
Going Home (Part 2)
Glenn Walls. Le Corbusier designed nothing for me. Digital print. 2011. Part of the Going Home (Part 2) series
Modernist architects Ludwig Mies van der Rohe and Le Corbusier proposed buildings intended for an ordered, structured life and contemplative viewing. What attracted me to their domestic buildings were their pure forms, cleanliness, timelessness and strong sense of interplay between masculine/feminine and public/private space. I only know these architects’ works via books, documentaries and the web; I am from the suburbs, raised without connection to modernist architecture. My work seeks ways to link my experiences of domestic buildings with the pure forms and theories of these architects. To achieve this I have photographed my father outside his house. Through research, experimentation and production I link these spaces through the use of text, white electrical tape, human figures and objects, into the public/private spaces of Mies and Le Corbusier.
Glenn Walls. My other house is modernist. Digital print. 2011. Part of the Going Home (Part 2) series
The Grid. Le Corbusier, Unite d’Habitation 1946 – 52. 2011
The Grid. Le Corbusier, Unite d’Habitation 1946 – 52. Biro on paper. 2011
Superlost again
Glenn Walls, Duel Meaning of Things, 2009. Exhibited at Westspace Sept 2009. Part of the Superlost series.
Glenn Walls, Duel Meaning of Things, 2009 Superstudio, The Continuous Monument, 1968 -71
Quaderna designed by Superstudio, 1970. Reworked for Superlost installation 2010. Back image taken from Zonatta Magazine.
Superlost. Exhibited at RMIT Project Space and Spare Ro0m, 2010
Prototype for Sophisticated Living 4 (Team Australia) Curated by Veronica Tello
Team Australia. Group show at the Carlton Hotel and Studios. December 2008
Team Australia is:
jeremy drape, emily ferretti, veronica kent, annika koops, brendan lee, natalie ryan, utako shindo, jackson slattery, salote tawale, glenn walls
Curated by Veronica Tello
Prototype for Sophisticated Living 3
Prototype for Sophisticated Living 3 exhibited at RMIT gallery, December 2008
Going Home
Glenn Walls Ludwig Mies van der Rohe, Farnsworth House, 1945 – 51
Untitled (Going Home) is a series of digital prints photographed in the house I grew up in. Located in Melbourne the house had been in the family for almost fifty years. However growing up in this house, I dreamt of living in another world, a modernist world. This world consisted of clean lines, white walls and minimalist furniture that had no connection to past histories or memories.
In June 2006, the house was left vacant and up for sale. Realising the house would soon be out of my family possession, I went back to document my connection to the house, its history and more importantly my memories. For a few short weeks I had the opportunity to act out my childhood fantasy of connecting my family home to a particular form of modernism I only know through books and the Internet, however at the same time allowing the house to shine in its blandness as a place of memory.
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