Glenn Walls – SUPER MEAT DISCO GRID

Super. I keep dancing on my own

Posted in Super: I keep dancing on my own by Super on November 20, 2020

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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Super Mobile (Superstudio: The Continuous Monument 1969)

Posted in Super Mobile (Superstudio: The Continuous Monument 1969) by Super on September 28, 2020

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

Posted in Uncategorized by Super on September 25, 2020

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

We don’t embroider cushions here

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

Gray Rivoli 1
Eillen Gray Prefect companion

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

Posted in Super Glory Hole by Super on June 8, 2020

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Glenn Walls. Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969

 

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Glenn Walls. Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969

 

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Glenn Walls. Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969

 

My Country Burns

Posted in My Country Burns by Super on March 6, 2020

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.

Posted in LGBTQI+. Persecuted. by Super on December 3, 2019

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

Posted in Not quite what it seems - Book Titles by Super on November 30, 2019

Glenn Walls. Queer interventionsBook titles. Digital print. 2019.

Glenn Walls. Queer interventionsBook titles. Digital print. 2019 (Detail).

Glenn Walls. Land interventions -Book titles. 2019

Glenn Walls. Land interventions -Book titles. 2019

Death by Apple

Posted in Death by Apple by Super on June 30, 2019

Glenn Walls. Death by Apple. iMac, axe handle, mirror perspex. 2019

Glenn Walls. Death by Apple. iMac, axe handle, mirror perspex. 2019

Philip Johnson

Posted in Philip Johnson by Super on March 31, 2018

Philip Johnson 2

Glenn Walls. Philip Johnson. Pencil on Paper. 2018

Philip Johnson 1

Glenn Walls. Philip Johnson. Pencil on Paper. 2018

National Pride

Posted in National Pride by Super on October 1, 2017

Indigenous 6

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.

Posted in A dollop of Modernism does everybody good by Super 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).

Why Bother

Posted in Why Bother by Super on April 23, 2017

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Why Bother. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, mirror perspex, yellow paint. 2017

Retrospective

Posted in Retrospective by Super 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.

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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 (Superstudio: The Continuous Monument)

Stapler Monument 1Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016

Stapler Monument 2 Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016

Continuous MonumentSuperstudio, 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)

Posted in Uncategorized by Super on July 26, 2016

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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.

The Death of Architecture (Part 3)

Posted in The Death of Architecture (Part 3), Uncategorized by Super on July 26, 2016

Death 5

The Death of Architecture (Part 3). Mirror perspex, Jelutong wood and wool rug

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The Death of Architecture (Part 3). Mirror perspex, Jelutong and wool rug

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The Death of Architecture (Part 3). Development work. Jelutong

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The Death of Architecture (Part 3). Development work. Jelutong

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The Death of Architecture (Part 3). Development work. Jelutong

Death of Architecture: Farnsworth House (Part 2)

Posted in Death of Architecture: Farnsworth House (Part 2), Uncategorized by Super on March 14, 2016

Farnsworth House Final

Death of Architecture: Ludwig Mies van der Rohe, Farnsworth House (Part 2)

The Death of Architecture. Superstudio (Part 1)

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.

White People

Posted in White People by Super on August 12, 2014

White People 7        White People 6

White People 3        White People 1

White People and their Spaces. Mirror acrylic on wood. 2014

More to come…….

What you would see if you were Superstudio….

Architects

Posted in Architects by Super on April 21, 2014

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Architects 2

Architects 4

Architects 5

Architects, 2014

Large scale bookcovers

Posted in Large Scale Bookcovers by Super on April 21, 2014

Self and Boring Others

Self and Boring Others, 2014

No Difference At All - Uganda

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

Posted in Humanising Le Corbusier by Super on March 2, 2014
Humanise Le Corbusier 2
Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014

Le Corbusier

Le Corbusier (Charles-Édouard Jeanneret). Plan Voisin for Paris. 1925.

LC 3.1

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

Posted in Uncategorized by Super on February 6, 2014

How to avoid everything booklet

How to yellow 2

How to avoid everything booklet 1

How to avoid everything booklet 2

Glenn Walls, How to avoid everything, Yellow booklet, Perspex,

10 x 15 cms, 2014

I am Australian

Posted in I am Australian by Super on November 21, 2013

I am Australian Final 2

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

Posted in Works by Super on July 14, 2013

Super Wheels

Superwheels. Mirror tiles, skateboard wheels. 2013

Superlost 95

Prototype for Sophisticated Living No 4. Balsa wood, paint, 2007 -13

I am Anonymous 2

I Am Anonymous. Mirror perspex, wood. 120 x 240 cms. 2007 – 13

How to Avoid Everything. Theoretical Book Covers 2013

Posted in How to avoid everything by Super on April 17, 2013

 

How to avoid 3

How to avoid being you. Hiding your being in the built environment. Perspex on wood. 2013

How to Avoid Modernism – Ulises Carrión

Posted in How to Avoid odernism -Ulises Carrión by Super on December 3, 2012

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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:

http://www.library.vcu.edu/jbc/speccoll/davidetcarrion.html

Life without Objects

Posted in Life without Objects by Super 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 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