Glenn Walls

We don’t embroider cushions here

Posted in We don't embroider cushions here by glennwalls on June 9, 2020

We don't embroider 7

We don't embroider 7.1

We don’t embroider cushions here. Bauhaus Carpet. Dimensions variable. 2020.

 

All power to you. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. Dimensions variable. 2020. Contains Le Corbusier mural that he painted on Gray’s E1027 house between 1938 – 39.

 

Eileen Gray Vs Le Corbusier

E1027 was the first architectural work of the designer Eileen Gray, completed in 1929 when she was 51 years old. Gray talked of creating “a dwelling as a living organism” serving “the atmosphere required by inner life”. “The poverty of modern architecture,” she said, “stems from the atrophy of sensuality.” She criticised it for its obsession with hygiene: “Hygiene to bore you to death!”

E1027, which was built for Gray and her lover, Jean Badovici, grows from furniture into a building. She created a number of pieces of loose and built-in furniture for the house and installed others that she had previously designed, always with close attention to their interaction with the senses and the human body. She created a tea trolley with a cork surface, to reduce the rattling of cups, another trolley for taking a gramophone outside, and the E1027 table, whose height can be adjusted to suit different situations

Long after Eileen Gray left the villa in 1932, Le Corbusier spent a few days there in 1937, 1938 and 1939. In April 1938, encouraged by Jean Badovici, he painted two murals in the villa and returned the following year to paint another five. He said, “I am dying to dirty the walls: ten compositions are ready, enough to daub the whole lot”. According to her biographers, Eileen Gray didn’t think much of these paintings. In 1949 Badovici threatened to remove them. Several paintings that had been damaged during the war were restored by Le Corbusier himself in 1949 and again in 1963. Three of them, however, have disappeared. Those that have been preserved have since been restored or are under restoration.

Reference: https://capmoderne.com/en/lieu/la-villa-e-1027/ https://www.theguardian.com/artanddesign/2015/may/02/eileen-gray-e1027-villa-cote-dazur-reopens-lost-legend-le-corbusier

Gray Rivoli 1                Eillen Gray Prefect companion

Left: Eileen Gray. Rivoli table, 1928.

 

Right: Perfect companion. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. Dimensions variable. 2020. Contains Le Corbusier mural that he painted on Gray’s E1027 house between 1938 – 39.

 

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Perfect sinners. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. 2020.

 

The most common way people give up their power is by thinking they don’t have any – Alice Walker. Perspex on wood (book cover). 29 x 42 cms. 2020.

 

E 1027 Vandal. (Based on Eileen Gray E 1027 house, 1926). Video (endless loop). 2020.

 

G 5

Perfect lovers. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. Dimensions variable. 2020.

 

A dollop of Modernism does everyone good.

Posted in A dollop of Modernism does everybody good by glennwalls on April 23, 2017

10. A dollop of Modernism

A dollop of Modernism does everyone good. Digital Print, 2017. (Reworking of the work; Le Corbusier designed nothing for me. 2011).

Retrospective

Posted in Retrospective by glennwalls on March 27, 2017

Artbank 1

Dual Meaning of Things, 2009. Exhibited at Westspace Sept 2009. Part of the Superlost series.

Artbank 2Prototype for Sophisticated Living No 1. Mirror tiles, wood, skateboard woods. 65 x 65 x 45 (approx.).

Artbank 4Prototype for Sophisticated Living No 1. Mirror tiles, wood, skateboard woods. 65 x 65 x 45 (approx.)

Artbank 6

Superwheels. Mirror tiles, wood, skater wheels.

Artbank 7

I am one of God’s mistakes. Part of Superlost exhibition. Mirror perspex, wood.

superstudio-cite-5

Super Suspended 2. Mirrored tiles, skate wheels, various materials. 2016

Based on the Continuous Monument by Superstudio. Background taken from Cite de I’Architecture et du Patrimoine.

Artbank 9

Supershoe 2. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, Mirror tiles. 2017

Artbank 10Installation view. Exhibition Carlton Hotel & Studios.

Artbank 11The Death of Architecture (Superstudio: The Continuous Monument). Metal Staples, wood, skater wheels. 2016

Artbank 12Prototype for Sophisticated Living No 3. Adidas soccer ball, wood, fake fur

Artbank 13

Supershoes. Mirror tiles, wood. Nike Shoes. Begun 2008. Completed 2017

Artbank 47

Less is More. Mirror perspex on wood. 2017

The Death of Architecture (Part 4)

Posted in Uncategorized by glennwalls on July 26, 2016

Death 36

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

Death 61

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

Death 65

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

The Death of Architecture 1

The Death of Architecture (Part 4) Mirrored perspex on wood.

The Death of 3

The Death of Architecture (Part 4) Mirrored perspex on wood.

Life without Objects

Posted in Life without Objects by glennwalls on January 29, 2012

 

Prototype for Sophisticated Living No 1 (Version 2). Mirror tiles, skateboard wheels. 65 x 65 x 45 (approx.). 2007/2012

Installation view. TCB Inc. Untitled (Baseball Bats). Baseball bats and mirror tiles. Dimension variable. 2012

Hoodwink (after Sean). Jelutong, Mirror perspex, Mirror tiles, white tape. 2012 (Prototype)

Life without Objects.

Opening Wednesday 15th February 2012

6 – 8pm

TCB

12 Waratah Pl  Melbourne VIC 3000. Wed – Sat 12 noon – 6pm

Exhibition dates: 15 Feb – 3 March

The Grid. Le Corbusier, Unite d’Habitation 1946 – 52. 2011 & 2012

Posted in The Grid by glennwalls 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