Nonspace by Emily Grundon

Emily Grundon (1989) is a UK based photographer, is in third year student of BA (Hons) Documentary Photography at the University of Wales, Newport. Her work centers around the convergence of photography with mathematical studies, and explores such interests in the natural and constructed environment, finding a subject-matter of interest and interweaving notions of geometry, perspective, space, shape and form to the eventual aesthetic outcome. See her latest project called Nonspace;

Nonspace's synopsis:

"The position of the art gallery in relation to photography has been theorised and questioned for many years, in particular since the fluidity of the photograph as document and art object has become more accessible. The art gallery is a place in which it’s contents is continually changing, but it’s exoskeleton remains constant. Nonspace strives to explore this notion through a unique convergence of photography and geometry.

Geometrically speaking, the triangle is considered to be one of the strongest shapes in its simplest form. To highlight the eternal nature that the art gallery embodies, the images of Nonspace are composed to such an extent so that the three-sided shape is found within each space. This is done through a meticulous study of light and shadow. More often than not, given the intentional use of a rectangular frame, the triangle was to be found in the corners of the spaces.

The French philosopher Gaston Bachelard writes of the human interaction with corners in his publication The poetics of Space. In particular, he highlights the way in which we are forced to ask our- selves how we react in relation to such a confined space and concludes that we are able to either feel safe or to feel trapped. Along with

evoking such feelings, the corner of a room simply represents the meeting of three planes that, at one point, force time and space to halt - a static position that the gallery also embodies.

As opposed to using the gallery as a means of display only, in Nonspace the gallery is also the subject matter itself. This work depicts several sites that all considered successful galleries constructed with the sole intention of displaying works of art. Nonspace not only strives to enhance the architectural quality of simplicity, moreover, it is intended that these observations commend the position of the photograph as a document of something that traditionally leads a relatively invisible existence."