Shifting Darkness contemplates the nature of the door through photography, poetry and color. Moving through a door is an everyday act, yet this book elevates that motion and asks the viewer to stop and contemplate the moment between the known and unknown. Each photograph pauses the immediate act of opening and moving through a door, yet the flipping of pages mirrors the action of opening and closing a door. The use of The Doors by David St. John adds a mystical obscurity to both the images and the contemplation of the door as an object. The poem can be read in full below; only excerpts were used in the text:

The Church of San Zeno, Verona

The doors were oak, massive…
Their panels, bronze. The 12th Century, a good
Century for fear, he thought, standing there
Before them, these doors of the oldest stories,
Parts of which had always been his life,
His many ancient lives—
It was a beautiful garden; he’d been sorry
To leave. When the boys, his songs, quarreled
And the one fell to the other, he searched
The sky, but the sky blew resolute and bronze…
Yet what he recalled most of the day
They left, he and she, were the outspread wings
Of the angel, each inscribed with heavy veins
Like the fronds of an enormous feathery
Palm, the plumage of a showgirl,
And the angel’s breath, pungent as anise, fine
As the light rising off a mountain lake
In early autumn—He thought
Of the squat boat he must sail, the dove
Set loose above the storming waters,
Of the altar on the hillside and his young
Lamb of a son, of the bitter bronze speaking
At last, saying WAIT!… how he’d wept,
Waiting as he had always waited, before
These doors, silence…
And the doors repeated their stories: good, evil,
All the shavings of testament, or testimony—
Then, in the shifting dark, he saw her
Beginning the dance; though he
Felt his face cocooned by her beauty as
The veils slowly fell, still, his shoulders ached
Process
The book began with photography. While I was originally fascinated with the different styles of doors around campus, as I took photos, I began to observe how people interacted with doors, and the space they entered or exited. This transitory in-between space fascinates me—it is a space that is occupied for a fraction of a second, yet captures a multitude of thoughts, decisions and physical sensations. I hand-painted each photograph to draw attention to the small details of each interaction with the door; to slow down the viewing of each photograph in an attempt to recreate that transitory feeling. 
I was inspired by Le Corbusier's Le Poême Électronique in my use of large swathes of bright color. I enjoyed how the color brought greater attention to the photographs, while adding energy to the book as a whole. I focused on using primary colors to simplify my process, and played with mixing inks and different printing methods. I decided to letterpress all large text in yellow on black to create an almost invisible message that is only really seen as the page is turned and the ink hits the light, emphasizing the theme of the book. The rest of the text is laser-printed on hand-printed swatches of color, which brings in an interesting consideration of modernity and tradition. 
This book is very conceptual and even after creating it, I'm not sure I fully understand it yet. I really enjoy coming back to this project and re-examining the themes I had in mind during its creation. I am excited to see how these ideas evolve in the future.​​​​​​​
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