More akin to a ‘happening’ than a conventional art show, ‘Mak?ng Sense’ immediately confronts expectations and boundaries. The first encounter on entering the gallery is a giant purple seed pod made from various textiles – sparkly, stretchy, shiny – which the viewer is encouraged to touch. Watching this for a short while it becomes clear that the main aim of those who attempt this is to encourage the inverted ‘spikes’ to become erect. Of course they are fixed in place and do not comply.
This work, ‘Touch Pods’, by Ticky Lowe and Ross Dalziel, comprises an interactive sculpture. The work is multi-sensory; the audience is invited to touch it, whereby sensors have been used to produce sound when activated by touch, and the idea is to observe how the public react to the interactive sounds that it creates.
The main gallery also shows a pen-on-watercolour drawing by David Ogle. Intricate and puzzling, ‘02015’ demonstrates wonderfully intricate penmanship transferred into a new spatial situation.
Next, visitors are drawn to the projected image of a live feed from the lower gallery space. A piece, also by David Ogle entitled ‘09003’, it is a mixed media installation consisting of lasers, haze, plastic and an electric fan.
A dim green light illuminates the narrow stairway (wear sensible shoes!) down to a strange and confusing space. The room is intersected by lines from light sources which are then reflected and which optically flatten the environment. At first glance, the white lines which delineate the viewing space look like a platform from which one could fall from the edge. Yet viewers are invited to step into the space and experience the differing perspectives. David states that his installations are to be experienced as events or interventions rather than objects, as a set of procedures played out within a space that exist for a while, and are then destroyed.
In the ‘small space’ on the ground floor of the gallery, is another piece by Ticky Lowe and Ross Dalziel. ‘Sound Experiment’, especially commissioned for this exhibition. In this, the audience cause changes in the sonic environment purely by their own movements, so it is entirely interactive and reactive to its current demands.
Finally on the ground floor is Ailie Rutherford ‘The Psychic Power of Plants’. Allie says: ‘This ongoing project explores the bizarre body of evidence that plants have an ability to preconceive events, anticipate the future and transmit knowledge to humans During experimental sessions volunteers are invited to communicate with plants and draw a shared vision of the future. Some of the drawings produced by the project are displayed here..’
The exhibition is curated by Emma Kelly (head curator for Python Arts), Nicola Selsby (a curator working within the cultural sector at National Museums Liverpool) and Susan Beck (assistant curator at Liverpool Hope University). To form this show they approached artists whose work engages with the sensory perceptions of the audience, who then become part of the work, therefore helping to ‘make sense’ of it.
Fallout Factory is a community interest company that supports and promotes emerging artists through exhibitions, commissions, residencies and collaborative opportunities.
97 Dale Street Liverpool
Until 8 November
Opening Times: 11-5pm Mon – Sat
Admission: Free entry.