In this series I photograph urban spaces using a fixed compositional rule: a wall placed at the centre of the frame divides the image into two equal parts.
On one side, the wall obstructs vision; on the other, it partially reveals what lies beyond.
The photograph is structured around this condition of interruption, where visibility is limited and space is only incompletely described.
The wall does not function as a subject, but as a device that defines the boundary of the image.
What remains visible is shaped by what is withheld, and meaning emerges from the tension between obstruction and disclosure.