Click/tap the image above to view a panoramic 360° view of the scene in your browser.
Having previously documented several exhibitions at Salford’s Islington Mill, we were commissioned to capture Maurice Carlin’s excellent solo exhibition ‘First… Next… Then… Finally’, which ran at the acclaimed Castlefield Gallery in Manchester.
The variations in light, detail and texture was both a challenge and an opportunity to capture realistically: so we shot the exhibition with a range of high dynamic range techniques to capture the exhibition in as natural and balanced a manner as possible. Using 360° panoramic photography allows the viewer to enjoy the scale, relation and context of the pieces in situ.
A range of detailed still photographs of artworks featured in the exhibition can also be seen below. These have featured in a range of publications including Frieze Magazine.
[Edit: you can now also view an ultra high resolution gigapixel panorama of Maurice’s workshop here]
Here is some background about Maurice and the exhibition, reproduced from the Castlefield gallery press release.
After completing an art foundation course in 2007, Carlin actively stepped out of the formal education system by co-founding Islington Mill Art Academy, a peer-led experiment into alternative forms of artist education, recently featured in Frieze, A N and Corridor 8 magazines. Respectively Carlin’s practice has developed from a unique context within the vibrant independent art and music scenes in Manchester.
“I often site the production of my work in the public domain, which becomes for me a form of ‘publishing’, drawing attention to the underneath and overlooked elements within the day to day world that largely go unnoticed. My practice explores spaces of transition, a stage where one thing has yet to become another. ‘Crisis’ as described by the writer Umberto Eco is a productive “moment of transition in which something that held before doesn’t hold any longer and there is not yet something new”.
Major works in the exhibition will include Corrupted Images – analogue relief prints of surfaces referencing the first print/publishing techniques developed in ancient China – produced on a busy high street in Manchester which served as a temporary studio. Blue (Sleep Mode) a collaboration with renowned artist David Medalla, depicts Medalla wandering through the streets of Salford at night with a mobile projector, illuminating details of the walls and surfaces of the city. In Screenscans, glitch snippets of television programmes are collected on a handheld digital document scanner. These captured moments of day to day broadcasting are outputted as large, filmic, storyboard like prints, both suggesting and distorting narratives.
Carlin’s work has a beguiling simplicity and directness, often belying a complex web of ideas, explored through a variety of media and approaches. An openness to the possibilities within an arts practice is evident in his work, something almost certainly arising from the independence and freedom of a non University education.