Wides' photographs convey the experience not merely of being in a place, but of connecting to that place on many levels of consciousness. Since the 80s, she has employed and innovated selective focus techniques using the swings and tilts of her camera lens to create a unique visualization of a site. By controlling the plane of focus, Wides directs our eyes towards essential nuances of comprehension and allows undulating light and time to alter the filter of our memory.
At a time when the virtual may seem to rival the real, Wides locates the poignancy of human desire to be in our environment, to feel "in the heart of the multitude…in the midst of the fugitive and the infinite," as Baudelaire said about the passionate city spectator, the flâneur. Wides adopts a transformative vision, expressing her intuitive, critical and conceptual responses to our human relationships with both urban and rural landscapes. Her lens blends her subjects with their surroundings to express the interconnectivity of subject and subjectivity, as well as space itself.
Merleau-Ponty's famous essay on Cézanne comes to mind. He writes of Cézanne 's struggle to paint "an object in the act of appearing, organizing itself before our eyes," and that Cézanne "did not think he had to choose between feeling and thought, as if he were deciding between chaos and order." The subtlety and complexity of Wides' images fuse feeling and thought, requiring us to slow down and contemplate where we are, and thus the very "why" and "how" of our being.