Photography for Gillian Horgan is a way of seeing. She works in the field and composes her images in the lens of her Minolta 350 SLR. She records these images with Kodak 200 film. Every image in her collection is the full negative without cropping or editorial manipulation. For her, photography is not about technology but about the images she can frame with the camera when she is out in the world.

Gillian's photographs are not about the places she has visited but rather about the unseen images she finds there. Whether it is a wall in Madagascar or a road in northern Quebec, roofs in Germany or electrical wires in India, her goal is to discover new and previously unseen beauty. People walk by an SUV in South Beach, Miami and do not see the image of a bicycle and palm trees, reflected in the back of a sideview mirror. But when they see the image in Gillian's photograph, they often exclaim with delight, "Wow! look at that! how cool is that!."

Gillian hopes her photographs will provoke those who see her work to find unseen details in their own world as they travel through it. Her images reflect her delight in the act of seeing, in abstracting elements of line and colour out of the ordinary such as a construction site in the Dominican Republic or a shop window in Toronto's Chinatown, in seeing old familiar icons such as the Eiffel Tower or Edinburgh Castle in original ways, in celebrating reflection in the waters of a Highland loch, the windows of a Paris apartment, or in the mind of the beholder. It appeals to her imagination that photography is a way of stopping time, of cheating the ephemeral of its essence, of capturing now for later.

Although the portfolio is remarkably eclectic, the photographs, whether landscape or urban image, microcosmic detail or the wider view, are unified by their elegance, by their rigorous composition, and often by an aesthetic sense that delights the mind as much as it nourishes the spirit.