Syncope marks a return to artistic endeavor following a prolonged period of creative dormancy. Captured in moments of respite from the rigors of professional life, these photographs—taken in Porto, Morocco, Wellington, Melbourne, Budapest, and Spain—reflect an enduring fascination with the grandeur of historic interiors, the faded opulence of palaces and estates, the quiet relics housed in museums, the weight of religious iconography, and the way time etches itself upon surfaces through decay.

Unlike my previous work, which was conceptually driven and rooted in research. This project was an act of release. Without a predetermined framework, I surrendered to the act of looking, of collecting images as one might gather fragments of memory. Photography became a means of seeing again, of trusting my own vision without the constraints of expectation. My lens moved toward what called to me: the textures of aged walls, the solemn beauty of anatomical specimens, the way light fell across the worn floors of chapels, the interplay between the sacred and the forgotten.

The idea of elision—a term resonant across language, medicine, and music—serves as an underlying thematic structure for this work. It speaks to the omission of a sound, a sudden loss of awareness followed by rapid recovery, a missed beat giving way to syncopation. This mirrors my own process: a break, a silence, and then a return to a renewed engagement with the act of seeing.

This body of work is presented in book form, allowing the images to be experienced as a cohesive visual study. By emphasising observation over structured analysis, the project examines themes of temporality, and the evolving relationship between artistic intent and intuitive practice. Through this work, I found my way back. Not through rigour, but through intuition. Not through theory, but through feeling. It is an exploration of what compels me, of what lingers in the periphery of history and place—an attempt to capture what is slipping away even as it remains before us.