Originally from Sweden, now based in New York, Maluszynski spent four years roaming Sin City’s kaleidoscope corridors with his camera.

“The carpets definitely play a big part in keeping the town as surreal as it is”, said Maluszynski by email. “Thought has been given to the carpeting by people who want to create this special atmosphere, [one] that defines Vegas as a gambling city.”

That’s a theory backed up by Dave Schwartz, Director of the Center for Gaming Research, at the University of Nevada Las Vegas. Schwartz theorizes that “casino carpet is known as an exercise in deliberate bad taste that somehow encourages people to gamble.”

Schwartz also points out that the busy carpets are not without design: there are floral designs at Mandalay Palace, abstract pointillist floors at Paris and, at Caesars Palace, the wheel – the Roman symbol of the “relentless capriciousness of fortune.”

As he trod the psychedelic multilevel-loop carpets of Vegas, Masulynzski’s thoughts flashed back to the Vegas experienced and described by Hunter S. Thompson: “You’re in a prison of sensory impressions. I was trying to rest my eyes, and I looked at the carpet and thought, Shit, I can’t do it there, either,” Maluszynski recently told The New Yorker.

Vegas isn’t all obvious ornament however; Maluszynski did manage to find refuge, “There is actually a surprising number of galleries in Vegas where great art can be found. [Rocker Steve] Wynn’s art collection is impressive.”

Maluszynski exhibited Las Vegas Carpets in April and has no intentions to return to the series. However, he continues to explore his interest in, and expand his collection of “odd patterns that define particular places.” Maluszynski plans to point his lens at another smothering of American kitsch: “I have started shooting motel bedspreads; it’s a great excuse to go road-tripping.”

All Images @Chris Maluszynski/MOMENT.

Chris Malusznski is represented by Moment Agency. Pete Brook writes regularly about visual cultures at Prison Photography.

Authors: Pete Brook

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