View allAll Photos Tagged Threshold
Old weathered building facade in Callington, South Australia. I really liked the worn whitewash, visible lintels and that you can see the original construction methods.
cities create corridors where light becomes architecture. stone columns frame paths we walk without choosing them—the sun decides where brightness falls, the buildings determine what remains in shadow. she moves through the narrow illuminated strip, crossing from one darkness to another. the moment exists because of timing: her stride, the sun's angle, the space between walls. tomorrow the light will fall differently.
a place and time of coming and going, approaching and leaving behind.
wishing peace, wisdom, and justice to all.
A quiet crossing beneath the watchful dragon. One figure, one bridge, warm light waiting inside. Stone and shadow hold their breath for a moment. Some journeys don’t announce themselves — they simply begin.
When I first heard the theme for this week, I thought of a revolving door, but didn't know of any close by. Then I stumbled upon this.
CC Week 2: Liminal Spaces
Gracias a todos por vuestra visita, amables comentarios y fav/ Thank you all for your visit, kind comments and fav
A staircase bathed in golden reflections, a quiet tribute to symmetry, steel, and light. Beauty found in the geometry of descent.
Sanaz Mazinani (b. Tehran, Iran, 1978). Threshold. 2015/2024
Acrylic mirror, silicone, wood, steel, paint, digital video & sound file.
Sound Composition by Mani Mazinani. Courtesy of the artist, Stephen Bulger Gallery, and Edward and Marla Schwartz.
“Mirrors are often regarded as offering a transparent and unbiased view of reality. In Threshold, mirrors are used to situate the viewer between reality and distorted images, encouraging self-reflection and self-awareness.
Sanaz Mazinani’s work uses intricate laser-cut mirror panels inspired by Islamic architecture. These mirrors reflect images of the viewer and intermingle them with video projections - a coming together within a fractured dimension. The video is created using multiple scenes of explosions taken from Hollywood movies, evoking Mazinani’s childhood experiences of war and conflict.
By mirroring and multiplying these scenes, Mazinani transforms the shocking explosions into kaleidoscopic compositions that captivate the visitor’s attention. Her artwork questions the over exposure and manipulation of conflict in the media industry and the distorted reality that these images create.
Sanaz Mazinani is an artist, academic, and educator based in Toronto. She works across the disciplines of photography, sculpture, and large-scale multimedia installations. Mazinani creates informational objects that invite us to rethink how we see. Her work has been shown internationally and is held in public collections including the Art Gallery of Ontario and the Aga Khan Museum.”