In a remarkable unveiling that blends the worlds of art and personal history, John Wood, a 79-year-old former telecoms engineer, is showcasing his first solo exhibition at Celine gallery in Glasgow. With a collection of intimate portraits that reveal the often-hidden leather subculture of the city, Wood invites viewers into a realm that has remained largely undiscovered for decades. His work, spanning over twenty years, captures the essence of masculinity, intimacy, and the complexities of gay identity against the backdrop of a transforming Scotland.
Unveiling a Hidden Archive
Many might be surprised to learn that the provocative imagery within Wood’s collection was not born in the vibrant streets of New York or the creative hubs of San Francisco, but rather in a converted attic in Glasgow’s West End. The photographs depict male subjects, often clad in leather attire, evoking a sense of confidence and boldness that resonates deeply. The exhibition features a range of works, including the striking “Cal” from 1982—a Polaroid of a man standing naked beside a white doorway—and “June 2002,” a gelatin silver print showcasing an unnamed figure in a leather waistcoat, obscured by a cap and a cigarette.
Wood’s artistic journey began in his teenage years, when he taught himself photography by poring over magazine images. Yet, it wasn’t until recently that he felt compelled to share his extensive body of work, a decision prompted by the Scottish artist and researcher Steven Grainger. Their collaboration has transformed Wood’s archives into an exhibition that distills the essence of his twenty-year photographic odyssey.
A Collaborative Approach to Photography
In our conversation, Wood expresses his humility regarding the artistic process behind his photographs. He describes his approach as collaborative, often allowing his subjects to dictate their poses. “I think they were probably restricted by their very tight leather clothes, so they couldn’t move very much,” he notes, highlighting how his role primarily involved managing the lighting and composition rather than directing the scene. This sense of shared creativity is reflected in his practice of printing duplicate images, offering one to each model as a token of their collaboration.
While the visual echoes of famed photographer Robert Mapplethorpe are undeniable, Wood’s relationship to the leather scene is distinctly different. “I’m not into leather at all,” he admits, revealing that his initial exposure to the community came through a former partner. This connection forged a path for him to engage with individuals who were eager to be photographed, thus bridging two worlds that, at first glance, might seem disparate.
Intimacy Beyond Sexuality
Despite the overtly erotic nature of some images, Wood insists that the sessions themselves were devoid of sexual overtures. “There was nothing sexual about taking the actual photographs—there was no orgy at the end of the session!” he quips, underscoring the playful yet intimate nature of his work. His portraits, while occasionally provocative, convey a sense of camaraderie rather than objectification. One standout image, “Roberto and Andrew,” captures a couple in a tender embrace, while another, “Stephen (1996/2026),” juxtaposes vulnerability with strength, showcasing a man in a leather jacket caught in a moment of self-assuredness.
Wood’s work stands in stark contrast to the societal norms of his time, especially considering that male homosexuality was only decriminalised in Scotland in 1981. The emergence of AIDS in the UK during the same year further complicated the landscape of gay identity. For many of the men he photographed, these images provided a rare opportunity to express their identities in a world that often marginalised them.
A Catalyst for Change
The impetus for Wood’s exhibition stems from his renewed connection to photography, inspired by his friendship with Grainger. When Grainger first encountered Wood’s extensive collection, he was taken aback by the depth and quality of the work, which led him to curate a selection of nine pivotal images for the exhibition. This collaboration has not only revitalised Wood’s passion for photography but has also illuminated the vibrant history of gay life in Glasgow that has often been overlooked.
As societal attitudes towards LGBTQ+ representation have evolved, so too has the visibility of gay narratives in mainstream culture. Wood’s work emerges at a time when depictions of gay identity are increasingly celebrated, yet they serve as a poignant reminder of the struggles faced by those who came before. Both Wood and Grainger acknowledge that this exhibition is not merely an artistic endeavour but a significant step towards recognising the rich tapestry of gay history in Scotland.
Why it Matters
John Wood’s exhibition at Celine gallery is more than a showcase of striking imagery; it is a vital exploration of identity, intimacy, and the quiet resilience of a community that has long been underrepresented. His portraits serve as powerful reminders of the beauty found in vulnerability and the importance of celebrating diverse narratives within the LGBTQ+ spectrum. In a world that continues to grapple with acceptance and understanding, Wood’s work stands as a testament to the enduring power of art to foster connection, awareness, and ultimately, change.