Exhibition opening at the Whitworth, Manchester
I photographed the opening of Michaela Yearwood-Dan’s exhibition at the Whitworth Art Gallery in Manchester. The exhibition brings together painting, ceramics and sound across several rooms in the gallery, with works placed so the installation shifts as you move through it.
I photographed the opening as it unfolded across the evening. I photographed the artist, Michaela Yearwood-Dan, in formal portraits within the space, as well as in more informal moments with friends and visitors during the opening. Alongside that, I photographed people moving through the exhibition, stopping to look closely at the work, talking, and circulating between rooms.
Michaela Yearwood-Dan
Michaela Yearwood-Dan works across painting, ceramics, installation and sound. Her paintings are built through layered surfaces of colour, gesture and handwritten text that sits directly within the image rather than as separate annotation. The work often holds fragments of writing within dense painterly surfaces, where image and language sit together.
She is represented by Hauser & Wirth and Marianne Boesky Gallery, and her work is shown internationally across institutional and gallery contexts.
Critical writing on the work
Writing on her practice often focuses on how abstraction and language sit alongside personal and cultural reference. In British Vogue, Charlotte Jansen describes her paintings as combining “confession, nostalgia and identity.”
The same article also notes the range of references within her work, from “queer communal spaces and carnival to Caribbean flora and fauna, to spiritual rituals and, very often, music.”
In exhibition texts for The Practice of Liberation at the Whitworth, her use of language is described as “fragments of diaristic writing alongside adapted and borrowed texts and lyrics,” which are integrated directly into the surface of the paintings.
Photographing the opening
I always enjoy working at the Whitworth. The building has a natural ease for photographing people within it, and the way exhibitions sit within its architecture supports that. There is a steady flow of movement during openings like this, which allows for a mix of portrait work, observation and social documentation without needing to separate those approaches.
It’s a privilege to work in environments where the architecture, the exhibition, and the people all sit together in the same frame. I am currently accepting commissions for exhibition photography, artist portraits and cultural documentation.
