|24/05/18 - 03/06/18|
gallery is proud to launch its free summer programme with a solo
exhibition by Liverpool-based artist Danielle Waine (b. 97, Cheshire).
Waine makes sound and object assemblages that respond to the spaces she
works in, here activating OUTPUT with temporary installations
consisting of found objects and various materials. Each assemblage has
sound potential that the artist will activate on occasion. |
will also be delivering a workshop as a part of this exhibition, 12-2pm
May 31. The public are invited to re-imagine the soundtrack to
Tarkovsky’s 1997 sci-fi Stalker. Visitors can experience a hands-on
introduction to experimental sound-making while they create a new
musical accompaniment for the classic film.
|Why do you refer to the works in the exhibition as assemblages rather than sculptures?|
term assemblage refers to the works' ability to be collapsible and
interchangeable. All the objects used are at some point un- and
re-assembled in different variations of sculptural work. It is an
ongoing practice that can be seen as one artwork, with moments of
regeneration, activity and dormancy through its constant discourse. The
artist acknowledges the sculptural elements of the work, but does not
define it as sculpture. The latter has a language of permanence and
solidity; sculpture concludes, whereas assemblage is an open system.
Why did you choose the film 'Stalker' for the sound-making workshop?
adaptation of Stalker from Strugatsky's book A Roadside Picnic
transforms the story from a very descriptive and typical sci-fi fiction
into an amazingly gestural, tensional, eerie and beautiful piece of
cinema. In this gesture, there's a minimal dialect that encourages the
viewers’ reliance on their intuition to read the subtleties that create
the atmosphere of the film. Workshop attendees will re-create this act
of gestural adaptation, also working intuitively in response to the
tensions they read from the film when stripped of its soundtrack;
further enforcing the minimal dialect and encouraging attendees
response to visual language in the film in order to translate it into
sound. This is a mechanism the artist sometimes adopts in her own sound
based work; sonically responding to, and somewhat replacing the visual,
literary and already existing sonic language of assemblages, spaces,
How does the art in the room respond to the gallery space and its architecture?
architectural features of the gallery space offers certain shapes,
lines and scuffs that mirror the forms belonging to the assemblage
objects. The works placements are decided based on channels between
these mirrored shapes, the assemblage objects and the relationship
created by their proximity to one another.