'One Thousand Doors, No Exit'

Tracing a path of reflections through a series of convex mirrors, the two-channel projection TATTARRATTAT guides viewers on two simultaneous tours of a 14th century Venetian palazzo.Nicolas Grospierre, TATTARRATTAT, 2010, 43 ¼” x 51 ½”.

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Though the projection appears to be a film, it is actually a series of over 500 photographs.Nicolas Grospierre, TATTARRATTAT, 2010.

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The project's title comes from the longest palindrome in the dictionary, a term for a knock on a door coined by James Joyce in his 1922 tome Ulysses.Nicolas Grospierre, TATTARRATTAT, 2010.

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Artist Nicolas Grospierre works in an expanded field of photography, exploring the social organization of space. TATTARRATTAT's format is a unique way of representing the nuances and individuality found in architecture, which is often difficult to communicate when a viewer isn't physically present at the structure.Nicolas Grospierre, TATTARRATTAT, 2010.

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The plan of Pallazzo Dona.Nicolas Grospierre, TATTARRATTAT, 2010.

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Hydroklinika is a series of 32 photographs of a treatment spa complex built between 1976 and 1981 in Druskininkai, Lithuania.Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4".

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The complex—which could accommodate up to 500 patients— boasted 50 healing rooms, 80 thermal baths, 40 mud baths, and an underground pool.Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4".

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Grospierre photographed the facility in 2004, a year before it was partially demolished and turned into a water park.Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4".

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The complex was built by little-known architects Romuladas and Ausra Silinskas on a ternary plan, which means each element is repeated by a multiple of three.Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4".

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Grospierre photographed each of the interior and exterior elements in what he calls a "global, objective, and systematic" way, and though many of the photographs initially appear to be the same, they are actually different parts of the building.Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4".

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The artist commented that the eerie emptiness of the abruptly abandoned building reminded him of a modern day Pompeii.Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4".

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Nicolas Grospierre, Hydroklinika, 2004, D-Print on Wood, 19 3/4" x 19 3/4"

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The plan of Romaldas and Ausra Silinskan's Hydrokilinika.Romaldas and Ausra Silinskan, Hydroklinika, Druskinkai. Plan.

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