The proximity of Nicosia’s occupied north from its south generates a disquieting, fabricated ‘distance’, thanks to barbed wires running across the capital’s dead zone. Standing vigil, guards from each side of the divide make eye contact with their counterparts.

People from both sides of this historic, divided capital, can make contact with what lies beyond this ‘no man’s land’, as it’s often referred to, via the various ‘peep holes’ in the walls, derelict buildings and tiny, deserted parcels of land of the dead zone.

The motif of ‘peep holes’ communicates a feeling of looking covertly at something forbidden, snatching a view in haste, without being able to take the time to savour the object, or, in this case, the view, fully.