Super Spreader
Glenn Walls. Super Spreader No 1. Mirror balls, chains, and vinyl floor. 2021. Dimensions variable.
Glenn Walls. Super Spreader No 2. Mirror balls, chains, and vinyl floor. 2021. Dimensions variable
Super – Colonisation
Glenn Walls. Super Colonisation – Australian Flag. 2021. Mirror tiles, fake fur and skateboard wheels. This work is based on Italian architectural group Superstudio, The Continuous Monument, 1969.
Glenn Walls. Super Colonisation – Indigenous Flag. 2021. Mirror tiles, fake fur and skateboard wheels. This work is based on Italian architectural group Superstudio, The Continuous Monument, 1969.
Glenn Walls. Super Colonisation – Australian & Indigenous Flag. 2021 Mirror tiles, fake fur and skateboard wheels. This work is based on Italian architectural group Superstudio, The Continuous Monument, 1969.
Super – Perfect Lovers
Glenn Walls. Perfect Lovers. Mirror tiles, paint and chains. 2021
Glenn Walls. Perfect Lovers. Mirror tiles, paint and chains. 2021
Paper stack by Felix Gonzales Torres, “Untitled”. Simulated image.
Glenn Walls. Perfect Lovers. Mirror Tiles, paint and chains. 2021
Glenn Walls. Perfect Lovers. Mirror tiles, paint and chains. 2021
Gran Fury, Silence = Death, 1987. Exhibition copy. As shown at the Carpenter Centre in 2009. Neon sign, 48 1/4 x 76 1/2 in. Courtesy of Collection of the New Museum, New York, Purchased with funds from the William Olander Fund.
This is a simulated image.
Super – Overwhelming
Glenn Walls. Yeah its overwhelming, but what else can we do. Mirror perspex on board, painted wall. 2021
Words taken from MGMT song “Time to Pretend”.
Super – Queer City
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Glenn Walls. Super – Queer City (Superstudio – The Continuous Monument, 1969). 2020/21. Colour mirror tiles, wheels & mirror plinth.
Super Pride (Superstudio – The Continuous Monument, 1969)
Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). 2020. Colour mirror tiles, skate wheels & mirror plinth.
Glenn Walls. Super Pride (Superstudio – The Continuous Monument, 1969). 2020. Colour mirror tiles, skate wheels & mirror plinth.
Super – I wanna dance with somebody (Who loves me).
Glenn Walls. I wanna dance with somebody (Who loves me). Mirror tiles, chain, light bulbs. 2021
Glenn Walls. I wanna dance with somebody (Who loves me). Mirror tiles, painted rocks, chains, light bulbs. 2021
Super – New World Order
Glenn Walls. New World Order. Silicone, fibreglass, hair, clothing, paper stacks, 2021.
Super – I keep dancing on my own
Glenn Walls. I keep dancing on my own. Wood, mirror perspex & paint. 2020
Glenn Walls. I keep dancing on my own + mirror cube. Wood, mirror perspex, paint, mirror tiles and chain. 2020
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No Logo
Take the cash and run. No Logo. (Advertisement for Shell Oil company comparing their state of art house building materials to the “primitive” building materials used by indigenous Australians. Architecture and Arts magazine, 1957). Perspex on printed board. 32 x 86 cms. 2020.
Take the cash and run. No Logo. (Advertisement for Shell Oil company comparing their state of art house building materials to the “primitive” building materials used by indigenous Australians. Architecture and Arts magazine, 1957). Perspex on printed board. 32 x 86 cms. 2020.
Take the cash and run. No Logo. (Advertisement for Shell Oil company comparing their state of art house building materials to the “primitive” building materials used by indigenous Australians. Architecture and Arts magazine, 1957). Perspex on printed board. 32 x 86 cms. 2020.
Glenn Walls. No Logo (I will wear…..). Pencil on paper. 2020
Glenn Walls. My Country. Perspex on wood. 2020
Glenn Walls. My Country, (Based on Rudolph deHarak). Perspex on wood. 2020
Super Glory Hole
Glenn Walls. Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969
Glenn Walls. Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969
Glenn Walls. Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969
Why Bother
Why Bother. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, mirror perspex, yellow paint. 2017
How to Avoid Modernism – Ulises Carrión
How to Avoid Modernism – Ulises Carrión
Pencil on Graph paper. 2012
Ulises Carrión is credited with being one of the first artists to write a general theory about artists’ books. His influential essay, ‘The New Art of Making Books,’ written in 1975, analyzes the traditional form of books in the context its tactile, visual, and intellectual merits. Carrión’s work with visual and concrete poetry expanded the use of the book as a medium for artistic expression that uses the page as an alternative gallery space.
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