Fig. 01 — Photographic project
Hanoi, Vietnam
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Some places already carry a story. They hold traces of what has happened and the weight of what has yet to come.
Within an abandoned industrial space, two bodies prepare to meet. The gestures are familiar, the tension almost tangible. Before the fight, there is stillness — a suspended moment in which every breath, every glance, every movement seems to carry a meaning of its own.
Then the distance disappears. The bodies collide, the rhythm accelerates, and everything becomes movement. Yet the fight itself is only part of the story.
The Interval is a reflection on the moments surrounding the action: the anticipation before impact, the silence between breaths, the fragments that remain when movement comes to a stop. It is an attempt to look beyond performance, beyond what is visible, toward something more vulnerable and difficult to define.
As the adrenaline fades and the noise falls away, the space returns to stillness. What remains is not a victory or a defeat, but a fleeting encounter with something unguarded — a moment in which nothing needs to be performed and nothing needs to be hidden.
This is where the photograph begins. Not in the action itself, but in the interval in which the world seems to pause, allowing something real to emerge.
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