For the 2017 show I changed tack and put paintings in the windows instead of prints. Big abstract panels, green and blue and yellow poured and worked across them, made flat on the studio floor and then stood up in the courtyard openings. You can see them here mid-make, wet on the ground, and then installed and lit.
Painting rather than printing was a different way to fill the same frames. Looser and wetter, one-off where the wallpaper repeats, but hung in exactly the same dead windows, so the courtyard kept its habit of turning its empty glass into something to look at.
Part of the Islington Mill case study.