It's really funny when you finish a project. I'm sure some of you will identify with this, but it's really terrifying because you have to think what next. And I remember when I finished Meers at Meers, I'd have the printers in Germany and I was really like low, you know. By the way, I'm happy too, quite a lot of time. But it's pretty low because I thought, that's it. Where do we go from here? You've been terrifying. And a year too later, I learned that the other military structures in Northern Ireland, for which there were many, were to be decommissioned as part of the peace process. And of course, the people who built the Meers, the Royal Engineers, also built all the other infrastructures. And, you know, over this period, I'm beginning to really find this subject and find my voice with it. But it has been gradual. And I, up until outposts, I'd only worked in Northern Ireland. So it went Meers and then the Watchtowers and then the demolition. I mean, there's a couple of things I'm playing within the work all the time. Sort of subconsciously, but it's very, it is there. It's a theme. There's quite a few themes. But the idea of Transience and the idea of modern structures, military structures, being not to be built to be permanent, but almost built to be put up quickly and taken down quickly. You might, for example, we don't use the term base anymore, military base anymore. We use it much less. So, you know, everything's camp, camp, bus, you know, camp, leathernet, camp, this, camp, camp, camp, because there's a sort of implication of not being permanent, not wanting to imply occupation. And really, this started in Northern Ireland with the structures that the British Army built. And I find this fascinating how they could go up and go down so quickly. And there was virtually never any trace. So the demolition project on the Meers demolition was a very, again, a very cathartic process. Watching these walls been stripped away, layer after layer. And then this landscape to be revealed that was there when they're beginning the time. And it just, you know, that question of history, that question of, as a photographer, I feel obliged to work with history. It's one of the reasons I fell in love with photography. And it's a ability to record. And yet simultaneously, I feel at odds with the idea of history, everything is repeated. You know, we seem never to learn. And so on the one hand, I have the string relationship with the idea of history, and liking it and believing it, and not liking it, not believing in it. And I like that dialogue I have with myself, and the work very much, you know, has that going on in it. But while all that's going on, there is a subject matter that's emerging that is a fascination to me, which is this idea of observation, architecture that's used for observation, and how landscape is also used as a tool in conflict. And these themes, I find extremely stimulating, because it involves landscape, it involves an architecture which is extraordinarily functional, and I think in itself reveals so much. And it has an element of brutality to it, and yet it has an element of fragility to it, when you actually look at it, these structures are strong, they're built to absorb rocket attack. But yet, they're built almost like sandcastles, they're built, you know, and so all these contradictions, these theming and layers are very stimulating to me, and became increasingly stimulating to me. So that subject has emerged sort of my experience of Northern Ireland, and enabled me to maybe look outside of Northern Ireland, and see how those ideas are developing. And with Watchtowers, there was I think the beginnings of a way of shooting, which we can see in our posts, out of the confines of the prison. Yes, out of me is that sort of systematic working, and understanding the subject and the function of the subject I'm trying to work in that vein. Watchtowers book was shot almost entirely from helicopter, because the observation towers are high up there on hills, and the only way to access them was through helicopter. There's absolutely no political agenda in the work at all, and in fact in all the work there isn't. But I am interested in revealing what these things do as a way of understanding how we as humans operate in these sort of situations. And you know, they are fascinating, these towers really worked as a matrix, a sort of visual architecture over a very broad area of land. And really what I wanted to show was I wanted to show that, show it as a structure, I wanted to show it as a structure within a landscape, and I wanted to to look at it as an object, and really try to present it as an object as clearly as possible. I was nervous of doing ideas of photographic, from some people criticised me for that and said, oh, I should have photographed it from the ground, because you know, that gives a sense of the oppression and all this sort of stuff. And I wasn't interested in that, I wasn't interested in making any statement, but I was interested in showing it to you as a unique phenomena, and that's what I thought. And how it worked, how it's, you know, it's job and it's function. And so, you know, I would circle it via helicopter to represent it as an object, and in doing that, you're looking at it like it looks at us, so you're sort of, you're showing what it can do, and then interleaving up with the views. And that approach came from me, it's a bit more relaxed, and I'd post, it's not as rigorous, I'd probably say, and that's the reasons for that, but essentially that's a way of working that I've developed now. It's the presence of each of those watchtowers in the landscape and the extent to which you can see that they have this control over the landscape, and the extent of the area which they're actually surveying. I think, you know, how are we? It's quite powerful, really. And the extent of the presence of them along the border lines as well. I mean, I just do find it fascinating, you know, how as humans we defend and we manage landscape and people, and I think it's a fascinating subject. I'm not yet good enough at articulating it and explaining why I find it fascinating, but I do think it goes to the core, or close to the core of what we are, what we're about, and in a most basic, basic primitive level.