Untitled (group of children, adults, woman in wheelchair by floral stanchions) c. 1955

This photograph by Paul Gittings presents a formal gathering, marked by floral stanchions that suggest order and ceremony. These barriers, often adorned with flowers, serve not just to direct movement, but also to elevate the event, infusing it with a sense of occasion. The stanchion, a simple object, echoes back to classical motifs of boundaries and sacred spaces. Think of the "Hortus Conclusus," the enclosed garden, a symbol of purity and protection, often depicted in medieval art. Here, these floral guides subtly evoke similar notions of restriction and exclusivity. Across time, the stanchion reappears in various forms – from the velvet ropes of the theatre to the barriers in public demonstrations – each time mediating space and dictating access. The psychological effect is powerful, engaging our subconscious awareness of inclusion and exclusion. We are drawn to cross these lines. It is in this tension between the desire to be included and the boundary that keeps us at bay, that Gittings' photograph finds its resonance. The floral stanchions become more than mere decoration; they are potent symbols of social dynamics, continually evolving in meaning, yet rooted in our collective memory.