Page produced spectrum effects across the building and pure single colour washes and wipes that worked with the video and soundtrack, which also featured vox pops of children and other visitors to the Tate as they engaged in arty stuff!
These interactive elements included a paint-by-numbers schematic of the Port of Liverpool – the first of the famous ‘Three Graces’ – buildings, which was filled in by visitors to the gallery.
In conjunction with projection, Page recreated giant renderings of these on the building as one section in the show – which is where all the LEDs came in. Their positioning was carefully calculated to highlight specific areas in well defined colour fields, a tricky task to get right, further complicated by the availability of safe rigging points for the fixtures – which were not necessarily in ideal places.
The LEDs on the building were all rigged off cherry pickers by the dbnAudile crew of 6 during an overnight stint on the Wednesday to be ready for the first tech rehearsal the next night, ahead of Saturday’s show.