Spalletti’s first UK show for a decade featured works that straddle the definitions of painting and sculpture. The surfaces of the works, intense with delicately coloured pigment, have a calming and ethereal quality.

The installation photographs show overviews of the gallery, depict specific whole works, and then pick out key details of Spalletti’s work. In one shot a model is positioned to offer a sense of scale, and as a counterpoint to an otherwise static series. The final image playfully captures the invigilators’ briefing. The group are framed in a doorway, directly balancing a view of one of the works.

The final section features actual size details from the surface of Spalletti’s paintings. The proportions of the blue block relate to Spalletti’s works.

The spine is transparently bound, creating an unusual sculptural quality to the book – particularly when stacked – because the binding is invisible. The book can open completely flat. The same paper is used throughout and is only printed on the top side. When the book is placed upside down all the pages appear blank.

The cover (like the installation images) is a collaboration with photographer Tim Gutt. Spalletti has always lived in Pescara on the Italian east coast. He rarely travels, but visited Leeds to oversee the installation of his show. The artist’s incongruous presence is exaggerated by isolating his silhouette within a field of white. Leeds street life is penetrated for a moment by Spalletti’s gaze.