Intervals focuses on the quiet thresholds we pass through, attending to fragments of time that sit between events. The series centres on moments of pause, suspension and solitude in everyday environments, stairwells, empty seating, architectural surfaces and shifting horizons, where attention lingers and perception begins to shift.

The work emerges from a practice grounded in sustained looking, where the everyday is approached not as incidental but as structurally and perceptually charged. Rather than seeking decisive events, the images are made in moments where activity has receded, allowing space to be encountered differently. These are environments designed for use, but when that use is removed, they begin to operate outside of their intended function.

Across the series, everyday spaces are reframed through compression, repetition and careful framing. Objects and environments are reduced to patterns, surfaces and spatial relationships, shifting how they are read. A café becomes a field of colour, a housing estate becomes an arrangement of planes, and an empty walkway reveals its underlying system once movement disappears. What is familiar is not transformed, but seen differently.

Intervals sits in dialogue with a photographic lineage that has expanded what constitutes a meaningful subject. Where Henri Cartier-Bresson defined photography through the decisive moment, this work turns away from singular events, focusing instead on the intervals that surround them. Stephen Shore and Lewis Baltz brought attention to the structures embedded within everyday environments, while Uta Barth and Luigi Ghirri shifted the focus towards perception and representation. Intervals extends this trajectory by emphasising how attention reshapes experience, and how the familiar can begin to feel constructed through the act of looking.

At its core, the work reflects on how we locate ourselves within the environments we move through. Spaces become unfamiliar when removed from their function, raising questions around belonging, presence and solitude. Solitude here is not absence, but a mode of attention, a way of being within space rather than passing through it.

Photography becomes less a tool for description and more a means of dwelling. The images do not seek resolution, but hold space in a state of suspension, where perception remains open and meaning is not fixed.

The project is represented in Intervals: Volume One, a hardback photographic publication developed as an extension of the work. The book format introduces sequencing and duration as part of the practice, allowing the images to be encountered over time rather than as isolated moments. A series of prints has also been released in conjunction with the publication.