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  • Eddie Clemens
    Delusional Architecture (Commemorative)

    Delusional Architecture (commemorative), LEDs, PCBs and programming, audio cable, conduit piping, conduit clips, tee inspection joints, nylon cable ties, power adaptors, each fence 2000 x 2200 mm

    Second Generation Fibre Optic Broom #1, 2012, fibre optics, brass, RGB LEDs, customized circuit boards and programming ( 3 axis Accelerometer, 3 axis gyro, 32 bit nxp micro lpc1768, 10/100Tx ethernet port, full speed USB port type b mini, micro sd card removable type, nylon spacers, custom zinc plated metal bracket, custom pine wood broom head, broom handle, 740 x 78 x 1500 mm

    Delusional Architecture, 2012, LEDs, PCBs and programming, audio cable, conduit piping, conduit clips, tee inspection joints, nylon cable ties, power adaptors, each fence 2000 x 2200 mm

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  • Eddie Clemens
    Delusional Architecture (Commemorative)

    Delusional Architecture, 2012, LEDs, PCBs and programming, audio cable, conduit piping, conduit clips, tee inspection joints, nylon cable ties, power adaptors, each fence 2000 x 2200 mm

    Share this
  • Eddie Clemens
    Delusional Architecture (Commemorative)

    Delusional Architecture (commemorative), LEDs, PCBs and programming, audio cable, conduit piping, conduit clips, tee inspection joints, nylon cable ties, power adaptors, each fence 2000 x 2200 mm

    Share this
  • Eddie Clemens
    Delusional Architecture (Commemorative)

    Racket abuse P.W.D, 2014, Prince Lightening XX string (Prince EXO Rebel 95), Wilson sensation string (Wilson Prostaff 95), Solinco Barbed-wire string (Dunlop 300 Biomimetic), Stencil ink,
    Diamond polished concrete, Fasteners (10G x 3 ZP CSK POZI S/TAP), 350mm x 280mm x 20mm

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  • Eddie Clemens
    Delusional Architecture (Commemorative)

    Captive, 2008, Bic Captive ball and chain ballpoint pens (purchased from Warehouse Stationary), ball and chain, fittings

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Eddie Clemens

Delusional Architecture (Commemorative)

Jan. 20 – Feb. 20, 2016

Eddie Clemens

Delusional Architecture (Commemorative)

Jan. 20 – Feb. 20, 2016

Eddie Clemens knows that these walls were custom built for the display of huge paintings. He has aggressively intervened into this architectural setting with thirteen two by two metre fences woven from electrical wire and conduit piping. The walls form a fortification or barrier, physically demarcating action and experience. Barriers are often placed in front of paintings hanging on this wall. Here they push painting out, compromising the medium’s promise of a window onto another world.

Yet Clemens’ practice is based on subverting the functional or use value of utilitarian objects. The fence has already collapsed, or been broken through. Traces of Gordon Matta-Clark’s ‘anarchitecture’ and Lucio Fontana’s slashed paintings can be felt here, but the primary reference point is a scene in James Cameron’s film Terminator 2 (1994). In this film the T-1000 materialises from the future by breaking through a chain mesh fence, leaving a smoking circular void. Clemens’ sculpture replicates this film prop, down to the use of a programmed cycle of LED lighting to simulate the molten metal wire ends. As in the film, Clemens’ sculpture fails as a fence that divides and maintains order. It becomes instead a dematerialised gateway or portal that facilitates escape and escapism, qualities more often invested in painting, film or science fiction than sculpture.

This blurring of the utilitarian object with the art object carries over into Second Generation fibre optic broom #1. Glowing icon-like on its rack, this hi-tech broom bristles not with dust, but with the accrued energies and resonances of the gallery space which Clemens swept in an unseen performance during the installation period. This second generation technology pulses with text as well as colour, talking to a legacy of sculptural practices that reaches well beyond this gallery. German artist Joseph Beuys’ sweeping of the streets of Berlin with a bright red broom in 1972 challenged the conventional boundaries of sculpture by signalling a move away from objects into actions. With his futuristic broom Clemens has found a way to hold action and object in productive tension, while putting art to work.