For this exhibition I produced a stills and motion package comprising: repros, video, installation views and work views in the space. The artist's particular use of colour and space governed my approach.

Reproduction shots

These shots were made in the studio just before being shipped to the gallery. I used a custom colorimetric profile based on a 3D LUT to be sure of an accurate recording of these super saturated colours.

Video

I had been talking to the artist for a while about video. Due to the pandemic context, the online communication of a show is naturally more important than ever. This is also a show which would really benefit from the extra spatial information that video can offer, so we decided it was worth the investment.

Technically, I have always been wary of video from a colour perspective as I am used to demanding a high-level of colour precision from my tools. Profiled video capture has thankfully developed a lot in recent years and I was able to closely match the colour of the video to my stills.

Formally, this is essentially a sequence of dolly shots and pans of varying distance and speed to guide the viewer through the space and reveal how elements relate to each other via parallax. The slower dolly shots were done with a slider, while the longer moves utilised a gimbal. 

Installation views

Like the repro shots, I used a custom profile to get accurate colour- one tuned for general lighting conditions rather than the controlled lighting of a repro setup.

I approach installation views as I do my architectural work- trying to reveal the volumes in a way that both 'sells' the work, but also gives the viewer a chance of understanding how everything relates in space.

Work views

Lastly, although the reproduction shots are perfect for archiving and print etc, as the artist conceived these works to function in the context of this installation, it was important to capture these work views in the space.