Murphy uses a 5x4 camera that results in large prints that are very rich in detail. Every object  – a discarded piece of wood, an old milk-crate, a solar panel, a satellite dish - can become significant using this method. The repetition with variation within the series parallels the work of Hilla and Bernd Becher and their protégés, though it is less austere and less obsessive. Like the Bechers, Murphy places his subjects centrally as if he were making an impersonal study of the similarities and differences between the various caravans. The result, though, is more like a portfolio of still lives.

Unlike the Magnum photographer Donovan Wylie, whose Losing Ground documented New Age Travellers hounded from Gloucestershire to East London in the mid 1990s, Murphy has chosen to focus on living spaces and what they imply rather than on decisive moments. Where Wylie portrayed travellers through selecting dynamic instants - a fleeting expression or interaction that encapsulated helplessness, joy, disillusionment or despair - Murphy is both more painterly and more oblique. His art of absences, traces, repetition and stillness repays close attention.