Porré's show reimagines the gallery space as ritualistic, symbolising profound change and serving as a rite of passage by employing the figure of the door. Rooted in the concept of cyclical time, her work uses doors as both symbolic and mythological entities that are a synecdoche of time’s passage. Historically, doors have delineated public and private spaces and marked transitions to divine realms across various cultures and mythologies, such as the Roman God Janus, who marks beginnings, endings, and transitions.

The name Ianitores terrestres references three door-related deities: Forculus, Limentinus, and Cardea, known by this name. In contraposition with Janus, a divine door keeper, these lesser-known deities, emphasise the significance of controlling liminal spaces—thresholds between different realms of existence [1] that surround us and are not necessarily divine. Thus, the physical spaces that divide us in a literal way - hinges, doors, urban planning (cardo) - and what they hide on the other side. By incorporating wooden sculptural doors, Porré underscores the importance of these thresholds into both our mundane and ritualised life.

The exhibition walls showcase Porré's 3D worldbuilding prints, which offer a deep mapping of historical and sacred sites, illustrating the power of reinterpretation and reconstruction in transforming our historical perceptions. This blending of digital and physical realms enhances the immersive nature of the exhibition, inviting viewers to embark on a journey through what remains and what awaits for us - through time.

"In her quest to pursue transhistorical visions, Porré blurs the boundaries between reality, dreams, and tales," said the curators. "This dynamic and ever-changing installation encourages viewers to rethink their relationship with history and opens up possibilities for a new engagement with our future."

It invites visitors to explore large-scale portals and hidden elements arranged in healing mandala-like patterns, prompting an explorative déambulation across time. Ultimately, it is a testament to the transformative power inherent in reimagining and reconstructing our understanding of the past. In the belief that art can re-contextualise figures - like the doors - in order to motivate a new relationship with our future. Through re-creating and enabling a new experience of the tropos of the past, we can change ourselves.

Exhibition text by Lava Art Project