Lime Street 1995

Editor: Here we have Tom Wood’s "Lime Street," a photograph from 1995. I’m immediately drawn to the contrasting colours and the almost geometric composition of the bus interior. The subject's gaze towards something beyond the window lends the work a curious atmosphere. What do you see when you look at it? Curator: Focusing solely on the visual, I note the strong diagonal lines created by the bus seats, which lead the eye across the frame. The colour palette is quite striking; the juxtaposition of the cool blues and greys of the exterior world seen through the windows against the warmer browns and reds of the interior creates a visual tension. The frame itself functions as a pictorial device which highlights and draws attention to certain shapes within. Do you perceive a structural symmetry or asymmetry within the composition? Editor: I'd say there’s a deliberate asymmetry, particularly with the placement of the young man. He’s not centred, pulling my focus to the other passengers across the window, so they almost feel as important to the image as he is. Curator: Precisely. And note how Wood manipulates light and shadow. Observe how this strategic arrangement delineates form and contributes to the overall texture. He does this by directing our vision to this area of formal and pictorial concern. Light bounces from the windows onto the opposite wall, which functions as both negative and positive space. Editor: That makes so much sense. Looking at the arrangement and balance this way brings new perspective to street photography for me. Curator: Indeed. A close analysis of form provides insight that cultural context may overshadow.