by Editor Jane Lyons
Edited and published by Yvette Depaepe, the 14th of May 2026

“The exit is usually where the entrance was.”
~Stanislaw Jerzy Lec~

“Event Horizon” by Dave Quince

Even the simplest threshold can become an object of art in the architecture of entry,
shaping how we approach, arrive at and cross over into another space.

An entrance slows us down.
It demands our attention and intention, and sometimes even our hesitation.
We rarely notice this in daily life. Doors are opened, gates are passed through and corridors are crossed without a second thought. Yet each one marks a quiet shift: There is an 'before' and an 'after'.

The 1x archives offer a treasure trove of such moments: international photographs shaped by culture, materials, light and time.
Some are ornate, exuding importance and ceremony.
Others feature graphic geometrics reminiscent of pop art, while some are worn, almost disappearing into their surroundings.
Yet they all share a common function: they mark the act of crossing.
Perhaps this is why they continue to draw us in.
Every threshold carries a quiet question: not only what lies beyond, but also who we are as we step through it.

“Façade -Ramat Gan” by Arnon Orbach

“Ladies' by Huib Limberg

“untitled” by Ibrahim Nabeel

“Lama-ji at Lamayuru Monastery” by Benton Murphy MD

The Obliquity of Shadows” by Miguel Silva

“Artist Entrance” by Tim Mossholder

“Dreams” by Anri Croizet

“Black Front” by Theo Luycx

“The Gate” by Hari Sulistiawan

“Lloyds” by Julien Oncete

In art theory, entrances are often used as metaphors for transitions or metamorphoses.
They imply movement between states — grand or humble, public or private, real or imagined.
However, they are not merely symbolic.
They are also experiential.
A narrow passageway constricts the body.
A high arch lifts the gaze.
A shadowed doorway conceals what lies beyond, while a brightly lit opening invites and reassures.

“Runner Girl” by Luc Vangindertael (la Grange)

“13” by Hans-Wolfgang HawerKamp

“Rolling Gate” by Christine Von Diepenbroek

“white wash and blue paint” by Linda Wride

“Flipped” by Jayatu Chandra Das

“Colorful Door” by Muhammad Almasri

“Scraps” by Alfonso Novillo

“Due Mondi/Two Worlds” by Massimo Della Latta

For photographers, entries offer the potential for mystery, intrigue and narrative.
They capture the unknown. They reveal just enough.
What is hidden becomes as important as what is seen.
A closed door suggests absence or refusal.
An open gate suggests passage, but not destination.
A figure standing at the threshold is suspended between two worlds, belonging fully to neither.

In this way, the entrance is more than just a place.
It is a moment. 

“Exit” by Ibrahim Nabeel

“Le Tram” by Luc Vangindertael (la Grange)

“What’s Behind” by Anna Cseresnjes

“Untitled #58” by Haruyo Sakamoto

“Reflections” by Edgar Monzon

“Light on a Wall” by Inge Schuster

“Hotel Paradise City” by Mi Young Choi

“Hello” by Jane Lyons