By asking why YOU love fences, rather than why photographers in general love fences, you give away the answer.

By putting yourself in the story, you have created a narrative.

Since your instinct is for storytelling, as much as for pure composition, the power of fences to divide things is always going to be a magnet.

Every story is a fence-like division, of a protagonist, from their goal.

In the picture, the photographer takes the place of the likely protagonist, with Muji a classic princess in distress, imprisoned behind the fence, waiting to be rescued.

Alternately, Muji is the protagonist, with the fence standing between her and her goals, either literally, in the form of a destination, or metaphorically, as a physical manifestation of the barrier between herself and whatever is on her mind, depicted as a sideways glance (another narrative trope of yours).

Further, Muji is leaning against this fence. This makes the fence a prop upon which she rests, a momentary respite, whereby she can reorganise her thoughts, and recharge her narrative momentum, as she prepares to fight on against the barriers in her life that stand between her and the mysterious object of her desires.

Every prison movie features a fence, being cut or not being cut, with escape ever beckoning. And in a deeper sense, every life IS a prison movie, the psychological barriers we can cut, and those we cannot.

Think of Steve McQueen crashing his motorbike into a fence in "The Great Escape." The fence seems insurmountable, but his spirit is not defeated. Placed again in the fence-like confines of his cell, he throws his baseball repeatedly against a wall, an endless plip-plopping heartbeat of undefeated defiance.

Fences are where the stories are, where the human spirit makes it's stand.

Storytelling is why YOU love fences. :)