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
Super Mobile (Superstudio: The Continuous Monument 1969)
Glenn Walls. Super Mobile 1 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020
Glenn Walls. Super Mobile 2 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020
Glenn Walls. Super Mobile 3 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020
Glenn Walls. Super Mobile 4 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020
Glenn Walls. Super Mobile 5 (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020
Glenn Walls. Super Mobile construction (After Superstudio, The Continuous Monument, 1969). Mirror perspex & skate wheels. 2020
Pandemic Architecture
Glenn Walls. Architecture that kills. Pencil on paper. 2020. 21 x 29 cms
Glenn Walls. I think we fucked up. (Theo Van Doesburgh, Contra-Construction: project for a private house. Axonometric. 1923). Pencil on paper. 2020. 21 x 29 cms
Glenn Walls. They. Pencil on paper. 2020. 21 x 29 cms
Glenn Walls. Out & Proud. (R. Buckminster Fuller. Dymaxion House Plan, 1927). Pencil on paper. 2020. 21 x 29 cms
Glenn Walls. Art does not kill people (From a painting found in the Rijksmuseum, Amsterdam). Pencil on paper. 2020. 21 x 29 cms
Glenn Walls. A Queer Perspective. Pencil on paper. 2020. 21 x 29 cms
Pleasure Palaces on the grid. Modernism for the ordinary person
Glenn Walls. Pleasure Palace 1. Biro on paper, 20202. Ludwig Mies van der Rohe, 860 – 880 Lake Shore Drive.
Chicago. 1949 – 1951.
Glenn Walls. Pleasure Palace 2. Biro on paper, 2020. Le Corbusier – Unité d’Habitation, Marseille,
France. 1945
https://lecorbusier-worldheritage.org/en/unite-habitation/
info@marseille-tourisme.com
www.marseille-citeradieuse.org
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
We don’t embroider cushions here
Glenn Walls. We don’t embroider cushions here. Bauhaus Carpet. Dimensions variable. 2020.
Glenn Walls. 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
Left: Eileen Gray. Rivoli table, 1928.
Right: Glenn Walls. 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.
Glenn Walls. Perfect sinners. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. 2020.
Glenn Walls. 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.
Glenn Walls. E 1027 Vandal. (Based on Eileen Gray E 1027 house, 1926). Video (endless loop). 2020.
Glenn Walls. Perfect lovers. (Based on Eileen Gray, Rivoli Table, 1928). Steel and wood. Dimensions variable. 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
My Country Burns
Glenn Walls. My Country. Perspex on board. 2020
Glenn Walls. My Country. Perspex on board. 2020
Based on the book cover designs by Rudolph deHarak.
LGBTQI+. Persecuted.
Glenn Walls. Fierce bitch seeks future ex-husband – David McDiarmid – Lost. Perspex on board. 29 x 42 cms (Book cover). 2019. From David McDiarmid, Rainbow Aphorisms digital print series, 1994.
Glenn Walls. The most common way people give up their power is by thinking they don’t have any – Alice Walker. Perspex on board. 29 x 42 cms (book cover). 2020.
Glenn Walls. For most of history, anonymous was a woman. Virginia Woolf. Cut short. Perspex on board. 29 x 42 cms. (Book cover). 2019.
Glenn Walls. To live is the rarest thing in the world. Most people exist, that is all. Oscar Wilde. Jailed. Perspex on board. 29 x 42 cms (Book cover). 2019.
Glenn Walls. If a bullet should enter my brain, let that bullet destroy every closet door. Harvey Milk. Murdered. Perspex on board. 29 x 42 cms. (Book cover). 2019.
Glenn Walls. LGBTQI+. Persecuted. 9 x Perspex on board. 29 x 42 cms. (Book cover). 2019 – 2020.
Reworking of book covers from my 2012 exhibition “Life Without Objects” held at TCB.
Not quite what it seems. Book Titles
Glenn Walls. Queer interventions – Book titles. Digital print. 2019.
Glenn Walls. Queer interventions – Book titles. Digital print. 2019 (Detail).
Glenn Walls. Land interventions -Book titles. 2019
Glenn Walls. Land interventions -Book titles. 2019
Death by Apple
Glenn Walls. Death by Apple. iMac, axe handle, mirror perspex. 2019
Glenn Walls. Death by Apple. iMac, axe handle, mirror perspex. 2019
Philip Johnson
Glenn Walls. Philip Johnson. Pencil on Paper. 2018
Glenn Walls. Philip Johnson. Pencil on Paper. 2018
National Pride
Glenn Walls. National Pride – Indigenous Flag. Acrylic Perspex. 59 cms diameter, 2017.
“Tell him he’s dreaming” is taken from the 1997 Australian movie, “The Castle”.
A dollop of Modernism does everyone good.
A dollop of Modernism does everyone good. Digital Print, 2017. (Reworking of the work; Le Corbusier designed nothing for me. 2011).
Why Bother
Why Bother. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, mirror perspex, yellow paint. 2017
Retrospective
Dual Meaning of Things, 2009. Exhibited at Westspace Sept 2009. Part of the Superlost series.
Prototype for Sophisticated Living No 1. Mirror tiles, wood, skateboard woods. 65 x 65 x 45 (approx.).
Prototype for Sophisticated Living No 1. Mirror tiles, wood, skateboard woods. 65 x 65 x 45 (approx.)
Superwheels. Mirror tiles, wood, skater wheels.
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.
Supershoe 2. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, Mirror tiles. 2017
Installation view. Exhibition Carlton Hotel & Studios.
The Death of Architecture (Superstudio: The Continuous Monument). Metal Staples, wood, skater wheels. 2016
Prototype for Sophisticated Living No 3. Adidas soccer ball, wood, fake fur
Supershoes. Mirror tiles, wood. Nike Shoes. Begun 2008. Completed 2017
Less is More. Mirror perspex on wood. 2017
The Death of Architecture (Superstudio: The Continuous Monument)
Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016
Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016
Superstudio, The Continuous Monument. Never constructed 1969 – 71
On top of the world… Il Monumento Continuo, a gridded structure that the Superstudio architects suggested would eventually cover the planet (Glancey, J. 2003).
The Death of Architecture (Part 4)
The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels
The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels
The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels
The Death of Architecture (Part 4) Mirrored perspex on wood.
The Death of Architecture (Part 4) Mirrored perspex on wood.
The Death of Architecture (Part 3)
The Death of Architecture (Part 3). Mirror perspex, Jelutong wood and wool rug
The Death of Architecture (Part 3). Mirror perspex, Jelutong and wool rug
The Death of Architecture (Part 3). Development work. Jelutong
The Death of Architecture (Part 3). Development work. Jelutong
The Death of Architecture (Part 3). Development work. Jelutong
Death of Architecture: Farnsworth House (Part 2)
Death of Architecture: Ludwig Mies van der Rohe, Farnsworth House (Part 2)
The Death of Architecture. Superstudio (Part 1)
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.
White People
White People and their Spaces. Mirror acrylic on wood. 2014
More to come…….
What you would see if you were Superstudio….
Large scale bookcovers
Self and Boring Others, 2014
No Difference At All is based on R. D. Laing 1961 book, Self and Others (seen in the top work). Eminent Italian graphic designer Germano Facetti designed the cover. R.D. Laing was a Scottish psychiatrist who wrote extensively on mental illness. The World Health Organisation considered homosexuality a mental illness until 1993. Using Facetti design of Laing’s book cover, No Difference At All highlights that sexual preference within the LGBTI community is no longer considered a mental illness by most western countries, however countries such as Uganda recently have imposed harsh anti gay laws and continue to label it as a mental disorder. The three circles are the colour of the Uganda flag. The red circle of the work is a mirror where we see a reflection of ourselves, noting that there is no difference at all, legally or medically between any of us. We are all the same no matter what our sexual preference may be.
Humanising
Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014
Le Corbusier (Charles-Édouard Jeanneret). Plan Voisin for Paris. 1925.
Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014 The Plan Voisin is a solution for the center of Paris, drawn between 1922 and 1925 by Le Corbusier. The plan for 1925 seems to be a direct transposition of the diagram of Contemporary City for three million drawn in 1922. Included are buildings available in a regular orthogonal grid occupying a very important part of the right bank of the Seine. The space is highly structured with two new traffic arteries pierced through the city, one on the east-west, the other on a north-south. Their role is not limited to the organization of Paris, as were the advances of Haussmann: they pass through the fortifications and the suburban area. They have the ambition to link the capital to the four corners of the country, the major French and European cities. The crossroads at the intersection of these two avenues is the center of the plan, the center of the city in central France. (http://densityatlas.org/casestudies/profile.php?id=99)
How to avoid everything
How to avoid everything booklet
Glenn Walls, How to avoid everything, Yellow booklet, Perspex,
10 x 15 cms, 2014
I am Australian
I am Australian. I will wear black until something blacker comes out. Perspex on wood. 2014 (study for larger work).
I am Australian. I will wear white until something whiter comes out. Perspex on wood. 2013/14 (study for larger work).
I am Australian is based Marcel Duchamp cover design for the Surrealist oriented publication Minotaure No 6, 1934. Minotaure was published between 1933 and 1939. The magazine focused on articles relating to Surrealist principles and theories, architecture and also contained the first published essays of the famed French psychiatrist and philosopher, Jacques Lacan (Vol. 1 & 4). Duchamp cover utilizes modernist principles of simplicity and lent itself to the redesign of the aboriginal flag. Alfred Deakin was Australia’s second prime minister and instrumental in the writing of the White Australia policy.
Works
Superwheels. Mirror tiles, skateboard wheels. 2013
Prototype for Sophisticated Living No 4. Balsa wood, paint, 2007 -13
I Am Anonymous. Mirror perspex, wood. 120 x 240 cms. 2007 – 13
How to Avoid Everything. Theoretical Book Covers 2013
How to avoid being you. Hiding your being in the built environment. Perspex on wood. 2013
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.
The above information is taken from the following website:
Life without Objects
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
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
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