Jonathan Oakes captures Liam Hopkins at Cathedral of Sound

Earlier this summer, photographer Jonathan Oakes spent a morning in Mayfield Park capturing images of Liam Hopkins alongside his large-scale public sculpture, Cathedral of Sound. The collaboration had been on the cards for some time—Hopkins had long admired Oakes’ visual style, and the sculpture provided the right moment for the two Manchester-based creatives to work together.

The shoot took place shortly after the sculpture was installed as part of the Music for the Senses trail, a public art initiative celebrating Manchester’s musical heritage. The early light provided ideal conditions: soft shadows, muted skies, and a calm atmosphere that allowed space to explore the structure and its surroundings. Oakes took a series of wide shots, details, and portraits that highlight both the sculptural form and the creative process behind it.

Cathedral of Sound is made from hundreds of donated acoustic guitars collected through a community Guitar Amnesty. Many of the instruments had been damaged or fallen out of use. The ones that were still playable were passed on to grassroots musicians, while the rest became raw material for the sculpture. Inside the structure, a wind-powered mechanism plucks the strings of the guitars, creating subtle, weather-responsive sounds. The result is a kinetic sound sculpture—part architectural form, part community monument.

Oakes’ images reflect the layered nature of the piece. Known for his contemporary, visually striking approach, he brings a strong sense of composition while allowing the material textures and spatial context to come through. The photographs don’t over-style the sculpture; instead, they present it clearly within its environment, highlighting the contrast between industrial materials and natural surroundings.

Based in Manchester since 1988, Jonathan Oakes has worked across design, advertising, and editorial photography. His work spans both stills and motion, often blending the two. He’s known for balancing boldness with restraint, and that quality is evident here—particularly in the portraits of Hopkins, which feel grounded and direct, without unnecessary embellishment.

The collaboration offers a fitting match of creative practices. Both Lazerian and Oakes operate at the intersection of design, craft, and visual storytelling. In this case, the resulting photographs provide a well-crafted visual record of Cathedral of Sound—a piece rooted in sound, structure, and collective memory.