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Photographer unveils unique perception with diverse styles
Top: While in the Navy in 1975. Gary Scott made a poignant portrait of this Iranian boy whose parents
condemned him to life as a beggar by tying his legs behind his back Above: Scott provides a contrasting
view of Iranian life with this shopkeeper Top right: After waiting for two weeks for the correct light and
weather conditions, Scott captured this abstract reflection
ATTENTION
PEOPLE IN TEACHER
CERTIFICATION PROGRAMS
If you need the University of Oregon’s
recommendation for an Oregon Teaching
Certificate or an Endorsement based
on FALL 1982 and/or prior academic course
work, please pick up your application packet
now in ROOM 117
COLLEGE OF EDUCATION
By Angela Allen
Gary Scott could probably have 30
shows running concurrently and reveal
as many different facets of his work
Six of Scott's photos are part of a
five-person exhibit at the Artists Union
Gallery at 985 Willamette Street in
Eugene These photographs are
abstract studies in kinetic and linear
forms, two techniques that he exper
imented with as a Fine Arts student
several years ago
These particular photos are un
derstated. clean exercises in color and
form Scott works for saturated, primary
colors and tight grain, achieving simple
and repetitious composition
Even though these aren't his most
recent photos and only a fraction of his
vision and work, they represent a part
which he hasn't previously shown to the
public
"The show is just an example of an
on-going progression," Scott says “It's
one of the results of probing into how I
see There re all different stages of being
an artist This is just one
True, if one were to judge from his
numerous portfolios To define him
strictly as a fine arts photographer is
restrictive He's also a skilled pho
tojournalist and documentary pho
tographer He's experimented with
advertising and editing formats in TV
production and has made several feature
films In the mid-70s he spent four years
as a Navy combat intelligence
photographer carrying out top-secret
assignments on a moment's notice
He claims the military has been the
greatest influence on his work I had to
be fast, quick and inconspicuous," Scott
recalls “I had to analyze elements, shoot
and get out You don't have time to think
in dangerous, high-pressure situations
Sometimes you have to be quick and
dirty "
Scott did more than the quick and dirty
work in his six times around the world
with the Navy While his military photos
were being fed to wire services and
major magazines throughout the world,
he spent his spare time off the ship
documenting village life He has shot
unusually sensitive and technically
beautiful photos of people in Southern
Europe, almost every African country,
regions of the Black Sea, the Persian
Gulf, much of the Mid-East and remote
parts of Asia
He attributes much of his documentary
expertise to his capacity to be empathe
tic "In documentary photography, the
camera is the second element You have
to establish a rapport first, make friends
You can't pass yourself off as God. To
get an accurate representation, quick
and dirty isn't good enough.”
His documentary pictures are a testa
ment to his philosophy Children, old
women, families, social outcasts, shop
keepers — in short, citizens of countless
countries unfamiliar to most Americans
— have exchanged cultural and personal
information with Scott There's no chee
secake, no cheap shots here Scott has
managed to unveil some visual subtleties
in this genre of work that many of us tend
to ignore
Even though his travels have been
extensive he's convinced that a good
photograph doesn’t demand exotic in
spiration “You don’t have to go all over
hell to be creative,” he notes. “The mind
set is what's important. '
Some of his best photos were taken in
Eugene within a two-block radius Most
of the ones from the current show were
shot around campus in pedestrian set
tings. Still, it’s the intent, Scott says, that
matters in making a good photograph
”1 still wait for the right light, the right
angle, the right time,” Scott says. "It's
not luck, it’s work.”
Scott says his approach to pho
tography is an inquisitive one, one which
gives him room to go toe-to-toe with new
and untested material, probe it and
synthesize it into his previous work. He *
believes he has the gift to interpret, relate
and analyze visually. He calls it simplv
Gary Scott, Self portrait
“being perceptive "
Visual perceptivity may be partially a
result of ironic circumstance in Scott's
case. Since he was a child afflicted with
amblyopia — an eye disease which
causes dimness of vision — he’s learned
to zero in on visual cues more acutely
than the average person At one point he
had 20/400 vision, and now he suspects
it’s even worse. He’s blind in his right
eye.
That handicap, he imagines, forced
him to overcompensate visually It’s
pushed him to see designs and patterns.
He believes that the partial blindness
has made him more sensitive to music,
another stimulus to his photography.
Sources as diverse as 3rian Eno of the
Talking Heads and Robert Frip of King
Crimson to Tschaikovsky have all in
spired him to translate aural signals into
visual language.
Whatever the many influences on Gary
Scott’s on-going progress as interpreter
and documenter of the visual world, he
continues, relentlessly, to step into un
plowed territories When he finishes his
M S. in Journalism next month, he wants
to find work in an advertising agency as a
television and film producer.
“I want to do everything," he says
quietly. “I’ve always had a big bang
theory, but I set up goals realistically. I’m
never blind.”
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