Eija Hetekivi spent twelve years photographing doors—doors of the underclass, the working class, the middle class, and the upper class—and the resulting body of work gives Klassdörrar its structure and its severity. Published by Max Ström in 2024 as a 151-page Swedish-language hardcover, the book gathers these façades into a sequence that treats the doorway as a unit of social measurement. Patric Leo designed the volume. Hetekivi, an author is the photographer here, and the photographic authorship is complete: this is one artist’s long project, not an anthology of many hands.

The subject is class in Sweden, approached through the most ordinary architectural element available. A door is a threshold and a claim: it announces what a household expects from the street and what the street is permitted to know. Repeated across four class categories, the motif stops being anecdotal. Inequality in Sweden has widened sharply in recent decades, and the project seeks to make that distance visible, with particular attention to people living in hidden homelessness who never appear in official counts. The book places a private address and a public statistic in the same frame.

That method—accumulation, typology, refusal of spectacle—is what distinguishes the project. By withholding interiors and faces, Klassdörrar asks viewers to read surfaces as evidence, and the design by Leo is integral to how the sequence is paced and compared. The format invites return visits rather than a single pass.

For collectors of contemporary documentary and conceptual photography, the book’s interest lies in its sustained duration, its clear organizing idea, and its place in an ongoing Swedish conversation about class. It was shortlisted in the photography category of the 2025 Swedish Photobook Prize. Its repeated attention to thresholds offers a way of comparing social spaces without reducing them to a single illustrative photograph.