Gary Woods has work held in important collections including The Getty Museum, Los Angeles and the Victoria & Albert Museum, London. In 2000 he was the BBC Artist in Residence and has exhibited worldwide in Japan, Paris, Nigeria and the UK. 

"I am interested in how one constructs ones perception of reality through the senses. The Primacy of the eye is relatively recent. In the medieval hit parade of the senses, the word and then touch were more important in establishing the truth (one thinks of doubting Thomas). As an accultured sense, sight is learnt through the battles of infancy and childhood. 

I am interested in understanding my own learning curve and feel I use photography intuitively as a method of enquiry. My first exhibitions were mostly of pictures of small figures set in large landscapes or trompe loeil figures of shadows taken from a great height. I remember the French critics asking why I had reduced the human race to the size of insects. To me they were vistas that gave the greatest pleasure. My father pointed out to me years later that, as a child, we had lived near a beach with an extensive sandbar. I had been allowed hundreds of yards into the water and still it only reached the waist. Looking back to see my minders from such a distance was a great liberation. The eye is the first circle, the horizon which it forms the second. As an infant I had been blind for the first eight months - a retinal condition - scomata - I trace my love of darkness, scotophilia, to that period. 

Often the results of the time spent in the darkroom following images are purely casual. I achieve different results, proceeding by trial and error, seeing new images even after developing the negatives. My use of photo chemistry is not conventional and the tactile manipulation of prints may involve non-photographic materials. I usually log my experiments but am more interested in tactics than techniques. Recently I have been taking triple exposures on the the same negative. I use a telephoto lens which has one plane of focus. The first exposure is focused on 18 inches; the second is on 10 feet; the third on infinity. The cameras position is fixed. Like backdrops in a toy theatre, these sharp planes stand out. between them may be areas suffering a complete loss of resolution. Unexpected spatial problems occur when trying to read the image. I am reminded of my experience in the early 1950s, when my father was stationed in Malaya. My mother and I were recovering from paratyphoid and I spent months, probably unconsciously, trying to construct 3-dimensional space from a world projected almost entirely on mosquito nets."

Gary Woods
**Work from Gary Woods coming soon.