Like many people, I’ve always been intrigued by entrances and doors. This series of digital colour photos is an exploration into the cultural conditioning of why that might be so. By that I mean, that while unconscious, what we see is conditioned by our social conditioning. Secondly, the meaning of entrances changes along with the evolution of culture. The choice of photos is designed to illustrate the “re-invention” that images undergo as our cultural conditioning change.
The photographs selected start with entrance doors to places of Christian cult dating from the 12th century to the 20th century reminding us that the original purpose of art was its use in cult rituals. As society secularized, the cult function of art disappeared and was replaced by its aesthetic role. Secular institutions such as places of governance, galleries for the display of art for art’s sake, places of business, and even homes retained the basic vocabulary of art for the practice of religious cult. The following catalogue and brief comments helps to illustrate some of these changes over time.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2007
During the middles ages, this area was under constant threat by the Moors. Christian institutions such as this hostel emphasized the role of the Abbey as a place of refuge for the practice of the Christian cult.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2007
This building is part of the Abbey precinct in Le Puy and reflects the flourishing of Christianity.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2007
By the late renaissance period, Le Puy as a major Christian centre reached is apogee.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2007
The open door reflects the building’s new vocation as a reception centre regardless of religious profession.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
The entrance to St. Patrick’s Cathedral harks back to its historic role as a place of refuge.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
With the 20th century, church entrances become even less reminiscent of fortress.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
The ‘New Temples,” such as art galleries and places of business, began to compete with places of worship reflecting the secularization of society.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
The “New Temples” often use glass to blur the distinction of what is inside vs. what is outside. While this vocabulary is visually more open, the presence of human and electronic security systems creates a decidedly less welcoming feeling. Note the reflections in the glass further creating ambivalence about what is inside or outside.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
This example demonstrates that, for those who have the means to do so, private residences entrances also use an architectural vocabulary to evoke the symbolic message desired by its owner.
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
This residential example of a 21st century home uses a very modern esthetic expression to attest to the success, economic and otherwise, of the owner.
20th century adaptation of 19th century image
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
The McKenzie-King Estate in the Gatineau National Park is creative example of assigning a totally new vocation to a door.
20th century adaptation of 19th century image
Digital colour photograph with pigmented inks
8” x 10” (approximately), 2008
In Greek mythology, Diana was the goddess of the hunt and is typically associated with animals and the forest. This 19th century bank entrance serves beautifully to heighten the act of “entering the forest.”