Going Home (Part 2)

Posted in Going Home (Part 2) by Super on June 6, 2011

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 & 2012

Posted in The Grid by Super on February 20, 2011

The Grid. Le Corbusier, Unite d’Habitation 1946 – 52 Vs Superstudio. Ink on paper. 2012

Shelter (Aboriginal Flag). Le Corbusier, Unité d’Habitation ( Version 1). Perspex on wood. 2012. 19 x 29 cms (study for larger work)

The Australian Aboriginal Flag is a flag that represents Indigenous Australians. It was designed in 1971 by Aboriginal artist Harold Thomas, who is descended from the Luritjapeople of Central Australia and holds Intellectual propertyrights in the flag’s design. The flag was originally designed for the land rights movement, and it became a symbol of the Aboriginal people ofAustralia.

The symbolic meaning of the flag colours (as stated by Harold Thomas) is:

  • Black: Represents the Aboriginal people of Australia
  • Red: Represents the red earth, the red ochre and a spiritual relation to the land
  • Yellow: Represents the Sun, the giver of life and protector

Superlost again

Posted in Superlost again by Super on June 17, 2010

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 Room, 2010

Projects for Total Urbanisation

Posted in Projects for Total Urbanisation by Super on June 17, 2010

Prototype for Sophisticated Living 4 (Team Australia) Curated by Veronica Tello

Posted in Sophisticated Living 4 (Team Australia) by Super on January 23, 2009

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

Posted in Prototype for Sophisticated Living 3 by Super on January 7, 2009




Prototype for Sophisticated Living 3 exhibited at RMIT gallery, December 2008

Going Home

Posted in Going home (Digital prints) by Super on December 6, 2008

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.


Prototype for Sophisticated Living 1 (Broke exhibition)

Posted in Prototype for Sophisticated Living 1 (Broke exhibition) by Super on July 3, 2008

Prototype for Sophisticated Living 1 exhibited at the Carlton Hotel & Studios 2008 in the group show Broke

Room 2

Prototype for Sophisticated Living 1 for the exhibition Broke At the Carlton Hotel & Studios 2008

Let’s talk about it, or new utopias


Rebecca Coates is an independent curator and writer, Adjunct Curator at Australian Centre for Contemporary Art (ACCA), and currently undertaking a PhD at the University of Melbourne looking at site-specific, ephemeral based installations.

Blubberland: The Dangers of Happiness , a new book by Elizabeth Farrelly, coins a new term for a new form of architectural horrible-ness.  For Farrelly, Western society is now a “Blubberland”, a society in which ‘most of us have more than enough of what we need and more than enough of what we want as well’.  As she continues, most of the inhabitants of Blubberland have far too much and more not only of material goods but also bodily fat, ‘to a degree that is dangerous for them and for the future of the planet.’  Thus the development of the McMansion: vast sprawling architectural monstrosities with too many bedrooms, an equal number of bathrooms, four-space garages, and so many windows that those commissioning them can’t afford the curtains.  And filled they are to groaning point with all the stuff and possessions a family could not possibly want, let alone need.
The disillusionment and rejection of modernist architectural ideals by the 1960s Italian group Superstudio might be akin to a similar rejection of today’s faceless, tasteless, mass-consumist architecture in what was once the green belt.  Once only the domain of savvy architects and design aficionados, Superstudio’s little-known architectural vision is undergoing a cult revival as architects and artists look to articulate their dissatisfaction with popular trends and developments.
Founded in Florence by a group of radical young architects in 1966, Superstudio laid out their vision of a built environment, ‘an efficient minimalist space that provides an ordered existence .. [The space should] not [be] constructed on the whims of consumerism and fashion.’   The location of this new form of avant-garde thinking is of course not accidental: Florence, Italy: a town ‘where all such contradictions become evident … [a town which] stands historically symbolic.’   And what better vehicle to launch their manifesto than Italian Vogue: anarchy and avant-garde are nothing if not fashionable.

To read the full transcript click on the Articles icon on the right hand side.

Room 1

How to avoid Modernism

Posted in How to avoid modernism (Video installation) by Super on July 3, 2008

How to avoid Modernism at Gertrude Contemporary Art Spaces, April 2008.

How too

In 2005 l created a scale model of Philip Johnson’s Glass House (1949). As with Farnsworth House I was attracted to Johnson’s simple lines, geometrical forms and large floor-to-ceiling windows that opened up the interior to the outside world. It was not until 2008 that the thought of using the model for the work How to avoid modernism (2008) came to fruition and was exhibited at Gertrude Contemporary Art Spaces in April 2008 (slide). Glass House 1

Philip Johnson, Glass House, 1949


Posted in Superlost by Super on July 3, 2008


Mountain (Superstudio)

Posted in Green by Super on July 3, 2008

Text Me

Posted in Text Me by Super on July 3, 2008

Text Me at Spacement

Text Me at Spacement

Text Me at Spacement

Text Me at Spacement

Text Me
Spacement, Melbourne
August 17th to September 2nd 2006

By Christine Morrow.  Curator, Museum of Contemporary Art, Sydney

Published in Eyeline Number 61: Spring 2006

Text Me presented artworks on the theme of messaging. Curator, Glenn Walls, assembled a group that included him, four artists who regularly work with text – Rose Nolan, Sanné Mestrom, Gabrielle de Vietri and Danielle Freakley – together with the design duo Pandarosa.

The works incorporated the motif of text, or oblique references to it, across various technologies of expression not restricted to the typographic form. Although the artists showed an awareness of the history of concrete poetry, conceptual art and particularly the Art & Language movement, they avoided rehashing any of the old concerns of structural linguistics about the systematic features inherent in language’s operation.

The exhibition did not focus on the structures of language per se but its instrumentality in building relationships or communities. By foregrounding the social functions of language and privileging individual utterances, the exhibition closely examined various intimacies created by speech and writing. Certain of the artists achieved this by inserting themselves into the work, or by using first-person to second-person speech, as if to whisper to the viewer, this is about you and me. Others created this intimacy by expressing personal vulnerability. These various strategies seemed to run the spectrum bounded by the two extremes of what the imperative Text me can signify: on the one hand a breezy sign off meaning let’s talk and on the other a neediness of the you never write, you never call…variety.

Sanné Mestrom has become known for large-scale painted wall texts of quasi biblical messages rendered with dizzying spatial illusions. By contrast, in Text Me she presented a series of large black and white images that were so degraded they appeared to be copies of copies. They depicted a performance by the artist that involved smearing her painted body along a wall. There was no typographic text in this work; instead Mestrom presented the evidence of using her body as a writing instrument to create what could be seen to function like a kind of graffiti tag, based on the body leaving behind its own indexical signature on the wall. However, the immediacy of effect it sought to create was undone by presenting the documentation of the work rather than either performing the work or exhibiting the smeared wall.

Pandarosa presented a wall-painting framed by two freestanding cardboard forms painted with ink drawings of each of the two members of the collective. The painted wall featured their signature style of silhouette shapes overlaid with organic-looking spidery drawing. It appeared to spell out Pandarosa. It too functioned as a graffiti tag, but in a more literal way than did Mestrom’s work. The work’s main content was a representation of its own authors who signed it thrice over: once by creating it in their signature style, a second time by writing their name large within it and a third time by presenting images of each of the two of them framing the work like bookends. As we might expect from graphic designers, there was an overt concern with the way text’s typographical features mediate its signification. But in this instance, the duo achieved a kind of anti-typography for there as a partial breakdown of legibility in the individual letters and their sequencing.

Glenn Walls presented an installation that featured a crumbling wall supporting a puzzling assortment of images. These functioned like conceptual clues needing interpretation. This work was also a kind of graffiti tag, or signature writ large, but a very subtle one. By exhibiting a wall, the artist invoked his own surname, Walls, in the form of a rebus. The wall was papered with a repeated pattern of symbols reminiscent of a personal coat-of-arms based on an assortment of mementi mori: including a modernist building, a retro car, three skulls and an urn. An image of the artist appeared separately in each of the framed photographs displayed on the wall, but in them he was not really himself. Instead he functioned as a kind of blank person on which to hang messages and monograms. The entire effect was to generate a slippage between logos, the plural of logo (or logotype), and logos, the word. This wall appeared to simultaneously break down and reconstitute itself; through its self-referential play, it absorbed the signature, transformed and diffused it……….

Christine Morrow

To read the full transcript click on the Articles icon on the right hand side.


Posted in Men (Video installation) by Super on July 3, 2008

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc


Posted in Digital by Super on July 3, 2008