He is not the man to tackle light subjects. His radio works include Luis Buñuel’s last screenplay Agón turned into an acoustical thriller, an inferno of drum sounds (recorded in Buñuel’s home town Calanda) and Lord Byron’s poem Darkness composed into a fever dream about the end of the world in the Year without a Summer 1816. He focuses on sound dramaturgy, mastering the balancing act betweeen the narrative and the musical meanings of sound.
His special sensitivity for acoustic polysemy can be traced back to his roots in the visual arts. Having studied at the University of Fine Arts Frankfurt/Main in the 70s, he elaborates his radio plays into sounding images, associative scenes and sceneries – but he also works with the “real” image in sound installations/stagings of sound works for festivals such as Herrenhäuser Gärten in Hanover or Schumann Festival Castle Benrath, and in his audio slide shows, where he confronts sounds with his photography.
Werner presents, I Used To Be a Painter.
‘The special character of my ars acustica can be traced back to my studies of painting, to my way of thinking in terms of images and painting techniques. This is what distinguishes my compositions from other, purely musically or narratively conceived works.
For me, it has always been exciting to see how the modes of thought of painters and “sound designers” can be mutually inspiring. There are numerous parallels between painting and sound art and there are terms that play a decisive role in the composition of both visual and acoustic works. Please don’t expect ultimate answers. This is just a kind of audiovisual “slip box” (Zettelkasten) containing hints to some of the subjects that matter in the realms of painting and sound.’