A new set of prints in the courtyard windows the next year, red and blue geometric patterns this time, run big and set into the same openings. Some face into the yard and some out onto the street, so the gallery worked both ways, for the people sitting in the courtyard and for anyone walking past outside.
The pattern against the old brick is the whole thing. A tight, bright, repeating design dropped into a rough industrial window, the Salford tower blocks behind it, doing the job a stained-glass window does in a church, only printed and temporary and about nothing holy at all.
Part of the Islington Mill case study.