The Roman God Janus is the God of new beginnings and transitions. He is the guardian of the gates of heaven and the keeper of doors and keys. In ancient times he was depicted by a four-sided archway or as a mirrored reflection, both in sculpture and architecture. The images of the project became visual constructs of his myth using closed doors, an empty road, reflective windows and bridges.
Influenced by the bare bones approach of Italian Cinema (Neo-Realisme) the installation does not employ elaborate production or special effects. Instead, it connects the stories of classical myth and films to create a photographic series. The scenes began like the opening shots of films. There are visual illustrations of choice and multiple directions can be sought. The work encourages us to find meaning in their viewpoint. Viewed as a whole, the fourteen images emphasize the journey itself, not the destination. It is the choices made in our individual lives that enable us, and paths taken and not taken, to draw our own conclusions, reveal our own truths. The photographer is most interested in exploring the impermanence of the ever evolving self with our transitions and our many new beginnings. Doorways of Janus reflects the universality of every life and its journey.
Visual Role of Shadow
Shadow plays the lead role in this project. There is a hint at narrative in each image but little knowledge is gained. Mystery, concealment and shading are some of the elements used and an aspect of voyeurism is present. Many of the images are shot from the outside looking in and others from the inside looking out. An effort is made to create a moody cohesiveness. The photographer is not trying to produce a message. Rather she is interested in exploring ambiguity and interpretive conflict. Each viewer is encouraged to read the images and use their imagination.