Review: “The Spaces Between” Studio Arts Senior Thesis

Maya Sasaki-George ’26

Staff Writer

Photographer Sabrina Codrington ’25 debuted her senior thesis, “The Spaces Between,” at the Poon Family Art Gallery in the Crescent Center for Arts and Neuroscience from April 1-5, holding a reception on April 3. This completely black-and-white photo series sought to explore the concept of gender and its various perceptions, “challeng[ing] the stereotypes associated with it through abstraction,” according to Codrington’s artist statement. Through twelve unique photographs, Codrington depicted aspects of everyday life, with a particular emphasis on hands, the body and various fabrics and clothing. “Shadows, negative space and the overall abstraction of the subject matter makes it difficult for the viewer to create an idea of what the gender being shown is,” reads Codrington’s artist statement. She aims for the viewer to be able to consider the subject in its own right, “largely free from gender associations.”

Codrington’s intention holds true for each of the twelve photographs. In close-up shots like “denim,” “sleeve” and “scrunch,” all portraying different textures of fabric, it would be impossible for a viewer to discern the gender of the object’s owner. One cannot assign any social, moral or cultural traits to the not-pictured individual linked to the fabric, and thus one must consider the images on their own. 

The next three pieces follow more typical everyday activities, seeking to alienate these actions from gender and subject. “lounge” depicts sweatpant-covered legs dangling off a bed, “Rachel with a book” shows a hand with fingers spreading the pages of a book and “on the way” portrays a hand gripping a steering wheel, the lit up dashboard glowing in the background. These three pieces thematically adhere to the idea of one’s everyday routine being largely the same as the rest of the world’s, regardless of gender or other aspects of individual identity.

Further photographs focusing on clothing and the process of getting ready are “cap,” “waiting,” “ponytail” and “ready.” The photo that stood out to me the most in the entire series was undoubtedly “waiting:” we see a torso in a white long-sleeve shirt, arms crossed in a gesture of annoyance or impatience. I found this piece unique for its clear, if ambiguous, depiction of emotion that seems absent from other photographs. There is something much more confrontational about it in comparison to the other pieces, also one of the only photos to be head-on and show such a large part of the body. 

Finally, we have “light” and “reach,” two pieces once again focusing on the hands. In “light,” fingers grip a lighter displaying a small flame, and “reach” shows a hand readjusting the fabric of a shirt. “My thesis was created at a point in history in which different methods of gender expression are being limited through federal and state legislation,” concluded Codrington’s artist statement, inviting the viewer to consider recent governmental and societal attacks on those not conforming to traditional gender roles and expectations. I found “The Spaces Between” to be a topical and poignant photo series both representing a complex and often-overlooked issue and showcasing Codrington’s technical skill as a photographer.