Open Doors – a concept, that hints at both the unavailability and the allowed “entrance and exit”. What is behind the “doors” contains something that is not identifiable in the context of direct spectator vision, stimulating movement towards perception. The “Doors”, while embodying the idea of the entry and the exit, remain unmovable at a certain point, dimensional or mental, and it is the viewer, in his expectation at the entrance, who is able to change the point of view. The position of the viewer in relation to the esthetic object is perceived differently in the East and the West. In traditional western landscapes, the viewer is located in the foreground, and along the eastern canons, he imperceptibly exists in harmony with the environment, and sometimes even dissolves in it.
The sanctuary can be a physical place or a state of mind and spirit. From a formal point of view, this is the most sacred place in the temple or the place of refuge, protection. The sanctuary coexists with everything outside of its reign, is separated from it by borders both material and metaphysical. In material manifestation, iconostasis, gates, doors, ritual or tradition can perform the role of the border. Its metaphysical manifestation is harder to identify, perhaps, it is in the presence of a sense of burning danger, waiting for damage. In this case, the viewer can expect or develop the concept and try to understand what is before his eyes.
Optical illusions, sound, moving images, light both reflected and refracted – with the help of a variety of these techniques, Migas and Gankevich create a labyrinth of entrances, that is inaccessible to pass physically, but not visually, due to its exotic imaginary depth. Moreover, in fact, the personal prerogative of the viewer becomes the choice: passive peeking in the relic inside or inclusion in the artwork in the form of its element.