Artworks 1998 - 2002
Super Sofas: Furniture for Body Play and Rest (Models No.1-6) 2002
Super Sofa's (a.k.a Ducati models) are soft systems for establishing visual scenarios for furniture, domestic wares, architectures and wearable items. Arranged, stacked, photographed and sketched in view of developing design ideas each system (representing one colourway) is a solid ovoid comprised of differing parts.
Conceptual Models 2001, Salon Satellite, Milan Furniture Fair
Performed at the Milan Furniture Fair in 2001 Conceptual Models proposes a methodology for conceiving families of diverse objects and things, which, although have different applications in the world are related and unified by the means of a shared volume. This work is speculative, it suggests for example that a chair, table, bag, coffee plunger and a hairbrush could all be generated from the one voluminous pattern. The platform for the performance developed out of LeAmon’s interest in the branding of lifestyle products where disparate objects from numerous manufacturers come together to form an image of a single company. In the absence of branding LeAmon asks; how is a car related to a chair and chair to a bag?
End Function: A Catalogue of Possible Uses 2000, Penthouse and Pavement, Melbourne
A photographic essay of models and multiples between 1997-2000
- Black t-pot model 2000-2000, lambda digital print 900x900mm
- Arris 1998-2000, lambda digital print 900x900mm
Very Useful Things 1997-2000
In Some notes on the phenomenology of making: The search for the motivated the author, sculptor Robert Morris argues for the condition of making, framing art as a process of phenomena – moving beyond the practice of critiquing the ‘thing’ or object in isolation (which is left over from making) and exploring it as a complex sum of thinking/materiality/making and behaviour.
Karada de Oboeru: Remember it with Your Body 1998, First Floor, Melbourne
Exhibit 12 marks LeAmon’s fascination with the work of French architect Eileen Gray and in particular Gray’s own self-styled training in architecture, craft and design in the early 20th century.
In the essay accompanying the exhibition Justin Clemens writes:
Exhibit 13, 1998, Studio 12, Gertrude Contemporary Art Spaces, Melbourne
