Along the Somerset coast, Victorian wooden groynes stand in the intertidal zone—structures that no longer serve their original purpose yet persist as vertical presences against horizontal sea and sky. The intertidal zone is threshold made geographical: twice daily these posts belong fully to neither water nor air.

Long exposure collapses minutes into singular images. Water becomes static and architectural while the posts appear almost animated, asserting themselves against erasure. The technique reveals duration as the medium through which these objects exist, without dramatising decay.The groynes are neither functional nor ruin, neither fully present nor absent.

Their persistence is not defiance but continuation. What was built to resist the sea now simply withstands time—a quieter, more enduring resistance.