This is a work in progress project. The following text reflects an evolving draft statement for a developing body of work.

Intervals: Volume II continues an ongoing exploration of how everyday spaces are perceived, extending the concerns of the first volume while shifting focus towards presence, positioning and instability.

Where Intervals: Volume I centred on moments of pause within emptied environments, this next phase moves towards what remains. Rather than complete absence, the work begins to consider traces of presence, subtle indications that a space has been used, occupied or passed through. Objects, surfaces and arrangements hold these residual signals, suggesting activity without fully revealing it.

As I move into this second volume, I am less interested in empty space, and more in what lingers. The work shifts from observing absence to sensing presence, from spaces that are clearly defined to those that cannot be fully accessed.

This development introduces a more unstable relationship between viewer and subject. Views are increasingly mediated through distance, obstruction and partial visibility, positioning the viewer within the scene rather than outside it. What is seen is no longer fully available, but encountered through fragments, reflections or interruptions. In this way, the work reflects on how we position ourselves within the spaces we move through, and how that positioning shapes our sense of belonging.

Across the series, structure remains central, but begins to loosen. Systems slip, alignments shift, and spaces become less fixed, more contingent on how they are encountered. The familiar is still present, but no longer fully reliable. This raises questions around how presence is registered, how space is experienced, and how easily environments move between lived reality and something more perceptual or constructed.

Within contemporary photographic practice, the work sits alongside approaches that move beyond description towards an engagement with perception itself. Rather than documenting events or locations, it considers how images construct experience, and how attention, framing and conditions of viewing shape what is seen. In this way, the work reflects a broader shift in photography towards questioning not only what is depicted, but how it is encountered, and how that encounter shapes our relationship to the world.

As with the first volume, the images will be made through sustained attention. They will not seek to resolve space, but to hold it in a state of uncertainty, where perception remains open and meaning is not fixed.