Tom Wood

Tom Wood, Burroughs Garden Girls, aus der Serie “Mother Daughter Sister”, 1986, 50 x 40 cm, analoger c-print
Tom Wood, Charlie and Alan in Granny’s Chair, aus der Serie “Men”, 1977, 50 x 40 cm, Silbergelatineabzug
Tom Wood, ENTLEMEN Cowley, aus den Serien “Photie Man” und “People”, Oxford 1973, 50 x 40 cm, Silbergelatineabzug
Tom Wood, Grimace girl, aus der Serie “Photie Man”, 1986, 50 x 40 cm, analoger c-print
Tom Wood, Headscarves and Deposit Token (+ Child), aus der Serie “Mother Daughter Sister”, 1974, 50 x 40 cm, Silbergelatineabzug
Tom Wood, Highfields, Leicester (Soul Sisters), aus der Serie “Mother Daughter Sister”, 1975, 50 x 40 cm, Silbergelatineabzug
Tom Wood, Kicking lamppost, King Street, aus der Serie “Photie Man”, 1980, 50 x 40 cm, Silbergelatineabzug
Tom Wood, Pink high heels with octopus, aus der Serie “Photie Man”, 1985, 50 x 40 cm, analoger c-print
Tom Wood, Same Look, South Coast, aus der Serie “Mother Daughter Sister”, 1970, s 50 x 40 cm, Silbergelatineabzug
Tom Wood, Saturday Afternoon, Leicester, aus der Serie “Mother Daughter Sister”, 1973, 50 x 40 cm, Silbergelatineabzug
Tom Wood, Seacombe (Last People in the Street), aus der Serie “Mother Daughter Sister”, 1978, 50 x 40 cm, analoger c-print
Tom Wood, Son / Father, Maryhills Glasgow, aus der Serie “People”, 1974, 50 x 40 cm, Silbergelatineabzug
Tom Wood, Their pride and joy, aus der Serie “101 Pictures”, 1983, /84 50 x 40 cm, Silbergelatineabzug
Tom Wood, Titian mother, aus der Serie “Photie Man”, “People” and “Mother Daughter Sister”, 1985, 50 x 40 cm, analoger c-print

Photie Man

When photographer Tom Wood moved from his native country of Ireland to Liverpool in 1978, the city in North West England was in dire straits, both economically and socially: Even though it had always been a major port and later an industrial hub since its foundation in around 1200, it was hit hard by the economic crisis. The population declined steadily, and many of those who stayed lost their jobs. The consequences were visible, above all in the city’s southern districts with their housing estates and council flats.

Amidst these tensions, Tom Wood began to portray the residents of this city that initially felt very alien to him, and its surroundings. He did this for almost three decades, advancing from an odd figure to an increasingly familiar sight on the streets. Nevertheless, the man who always carried a camera around his neck came across as somewhat strange, and so he was given the nickname “Photie Man”. Almost daily, Wood roamed through pedestrian zones, visited weekly markets, cafés, pubs and nightclubs, always on the search for new motifs. His colour and black-and-white photos show families, groups of friends, couples and individuals going about their day-to-day lives. They seem to trust the photographer, because almost all look directly into the lens with a relaxed gaze – whether they are holding a child in their arms, leaning nonchalantly against a car, or posing in front of broken lettering. What makes Wood’s work stand out is his ability to skilfully capture each individual character as well as the intimacy between people. He seems to get right up close to them without them feeling pressurised or having to put on an act. On the contrary, Wood catches a wide range of emotions with great affection as well as honesty. With an eye for detail, facial expression and gestures, he found motifs that most people would not have noticed – whether the daughter who is a spitting image of her mother, or the couple leaning nervously against a lamppost in what looks like their first flirt.

But Tom Wood’s photographs also give us an insight into Liverpool’s working class of the 1970s and 80s. His pictures show above all those parts of society for whom everyday life was a challenge. If we take a closer look, we see not only intense gazes, but also the barricaded shops and run-down streets behind girls who have become mothers far too young. Wood’s work chronicles the city and its people – realistically, sympathetically, and full of warmth – and at the same time creates a portrait of what is profoundly human. His everyday observations reveal the extraordinary amidst the ordinary.

Biographical information

1951

born in County Mayo, Ireland

1973 to 1976

studies Fine Arts Painting at Leicester Polytechnic (now De Montfort University)

1989

publishes „Looking for Love: Chelsea Reach” in Manchester, UK

1998

receives the Terence Donovan Award from Royal Photographic Society, United Kingdom

2002

awarded with the Prix Dialogue de l’Humanité at the Rencontres d’Arles, France

lives in North Wales, United Kingdom