RK Exclusive remote front door - Heavers of Bridport
Heavers recently installed a custom RK Exclusive front door system with Roto Eneo C/CC electromechanical locking system. We will do another site visit after building works have completed to capture the LED ghost lighting.
RK Doors are available from Heavers of Bridport, find out more here...
Knowlton Church and Ceremonial Earthworks Near Wimborne in Dorset
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Knowlton Church and Ceremonial Earthworks Near Wimborne in Dorset
The ruins of Knowlton Church sit in the centre of the ceremonial henge that predates it by about 3,500 years. It is one of the most striking examples of how the new religion of Christianity adopted many existing sites of worship and ceremony, and in so doing persuaded the population to convert to the new religion.
However, this conversion was never fully completed and the old religion has endured to this day. If you click on the aerial photograph above and to the right then zoom in on the area just below the church ruins you will see a small black circular area of bare soil.
Knowlton Church, Knowlton RingsWhen I visited the site early one morning in October 2014 I found a used tea light in that space. It seems it had recently been used for a ceremony of some kind, perhaps a solitary follower of the path of Wicca.
It would seem that the Old Religion created the site, Christianity used for several hundred years, and now neo Pagans are using it once again.
Knowlton Church and Ceremonial Henge 1Knowlton Church
The Normans built the original church in the 12th Century and in was in continuous use until the 18th Century. The tower was added in the 15th Century. After the roof collapsed in the 18th Century it was abandoned in favour of another, more recently constructed church in Woodlands.
Knowlton Earthworks – A Ceremonial Henge
Knowlton Church and Ceremonial Henge 2The earthworks were built about 4,500 years ago in the Neolithic Age. It is clear from the size and dimensions that the earthworks were designed for ceremonial use and were not defensive structures. English Heritage suggest that there may have been wooden walls and a roof covering the whole area.
If you want more details and facts about the site's history then just google it and you'll find plenty, but I would suggest the best way to get to know the site is to visit it.
Ideally, go as I did in the early morning, preferably when it's sunny. To see the sun come up and cast the long shadows you can see in these aerial pictures is very atmospheric. It reminds you of the timelessness of the space.
Imagine all the history that has passed while the church has been there. That's less than a thousand years. Then continue your journey back in time to the point when the earthworks were constructed and you will be going back another three and half thousand years.
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Marco Rios: At Loulou’s Door
Marco Rios’s single channel projection At Loulou’s Door is on view every night from dusk to midnight on the Museum’s front facade as part of Street Views, CAM’s outdoor video art series. Seemingly perched upon the exterior of the Museum, Loulou—a luminously colored parrot—brightens the cityscape, providing viewers with a sense of the absurd and humorous as they encounter the seventeen-foot-high bird, moving in real time at a monumental scale.
With a film noir sensibility and wry humor, Marco Rios uses diverse sources from pop culture, art history, literature, cinema, and the everyday to investigate the presence of kitsch, paranoia, death, delirium, and love within our culture. At Loulou’s Door brings to life the final passages of Gustave Flaubert’s tragic 1877 novella, Un coeur simple, embodying several of Flaubert’s literary and autobiographical references, including the parrot belonging to the novella’s protagonist and the taxidermied parrot the author kept on his desk.
The novella tells the story of Félicité, a devoutly spiritual and altruistic servant, who retains her unwavering virtues despite a life characterized by sorrowful events. The reader learns of Loulou, Félicité’s bird, with whom the protagonist holds a complex relationship: “At church, she always contemplated the Holy Spirit and noticed that it had the look of a parrot.” Flaubert concludes his text with Félicité on her deathbed where she “believed she saw, in the heavens as they opened, a gigantic parrot flying above her head.”
Similarly, in At Loulou’s Door, the parrot transcends its corporeal existence and can be understood as a symbolic and omnipresent being. The bird’s tentative gait and fixed spatial boundaries create an underlying tone of uncertainty and a palpable fragility—at odds with its massive scale. Rios’s avian subject becomes a conduit to explore the human condition, replete with its darker physical, visceral, and absurd realities.
Marco Rios (b. 1975, Los Angeles) lives and works in Los Angeles. He received his BFA from Otis College of Art and Design and his MFA from the University of California, Irvine. Recent exhibitions include Simon Preston, New York, LAART, Los Angeles, and, with Kara Tanaka, Yerba Buena Center for the Arts, San Francisco. He was also included in Let Them Eat LACMA at the Los Angeles County Museum of Art, This is Killing Me at the Massachusetts Museum of Contemporary Art, North Adams, and the 2008 California Biennial at the Orange County Museum of Art, Newport Beach.
Marco Rios: At Loulou’s Door is organized for the Contemporary Art Museum St. Louis by Jeffrey Uslip, Chief Curator. Special thanks to Pulitzer Arts Foundation.