Sculpture
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.
Supersystem Play 2003, Gertrude Contemporary Artist Spaces, Melbourne
The Supersystem performs the role of a conceptual and visual hinge between the abiding themes of desire, use, comfort and play in view of constructing an environment of objects and images. It is an object – a piece of ‘use-art’ that can be played with to reconfigure soft-micro landscapes for resting, lying, sleeping and dreaming within. Appearing in the shape of an ellipse, it unfolds and comes apart in six varying forms, one must arrange, sit, bounce, balance and rely on the practice of ‘play’ to define its use.
Moto Showroom: The Return of Desire 2003, Gertrude Contemporary Art Spaces, Melbourne
MOTO Showroom: the return of desire is an adventure emerging from a dialogue between desire and design. Conceived through the exploration of a design methodology MOTO Showroom attempted to construct the world of the artist/designer’s practice. A strategic organization of ideas on gender and design are woven though a schema of works transfixed on the image of the motorbike and notion of the artist/designer as ‘racer’. MOTO Showroom embraced the expressive capacities of digital technologies in order to conjoin the modes of art and design practice and reveal design process within a fantastical narrative.
Maker-User-Copier 1997, West Space Gallery, Melbourne
If one’s internal world could supply an architectonic expression then what type of space would manifest through usual human affections of anxiety, heartache, loneliness and dislocation? If feeling states could be authentically translated into an architectural language I wonder if any of us would wish to live in our architectural skins?
Heroes, Chameleons & the Absence of the Ego 1993, Temple Studio, Melbourne
408 cast white metal miniatures
LeAmon's first solo exhibition, part of the Melbourne Sculpture Triennial 1993. 408 cast miniatures of medieval knights presented in the company of myth and contemporary and narratives.
Exhibit 13, 1998, Studio 12, Gertrude Contemporary Art Spaces, Melbourne
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:
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
