Intervals is about the quiet thresholds we pass through, the fragments of time that ask us to linger. The series attends to moments of pause, suspension and solitude in everyday life — stairwells, empty seats, walls of colour, shifting horizons — spaces where perception holds and belonging is felt without assertion.

This work emerges from a photographic practice that privileges attention over spectacle and subtlety over declaration. Solitude is not absence but presence; stillness is generative, not passive. In this way, Intervals invites the viewer to slow down, to notice the ordinary anew, and to accept that meaning may remain open and unresolved. The everyday is not incidental but charged with possibility.

Intervals exists in dialogue with photography’s broader history of expanding what is deemed significant. Henri Cartier-Bresson’s notion of the decisive moment¹ defined photography as revelation; Intervals reverses that idea by seeking power in what lies between. William Eggleston elevated colour and the everyday into art²; Uta Barth emphasises perception and what lingers at the margins³; and Rinko Kawauchi finds beauty and wonder in fleeting gestures and everyday textures⁴. In this lineage, Intervals continues the discourse: it treats the act of seeing as central and insists that everyday fragments can carry depth and resonance.

Photography here becomes not documentation of events but a way of dwelling — a slower, more reflective relation to place, perception and time. Solitude becomes presence, stillness becomes generative, and fragments become sites of belonging.

The project is represented in the photographic volume Intervals: Volume One, published to embody this ethos, offering a tangible space for dwelling with the images as well as viewing them. A series of eight prints has also been released in conjunction with the book’s publication.