With poetic symmetry the Domes series considers analogous ideas. It is a body of work which has been ongoing since 1993 and now numbers several hundred images of domes in countries including Italy, Spain, Portugal, Turkey, England, Germany and Russia. The typological character of the series reveals the shifting history in architectural design, geometry and space across cultures and time, demonstrating how humankind has continually sought meaning by building ornate structures which reference a sacred realm.2 Stephenson photographs the oculus – the eye in the centre of each cupola. Regardless of religion, time or place, this entry to the heavens – each with unique architectural and decorative surround – is presented as an immaculate and enduring image. Placed together, the photographs impart the infinite variations of a single obsession, while also charting the passage of history, and time immemorial.
2. Hammond, V. 2005, “The dome in European architecture,” in Stephenson, D. 2005, Visions of heaven: the dome in European architecture, Princeton Architectural Press, New York p. 190.