JESSICA HOLMES IS unrecognizable in many of her self-portraits in "Capture and Record." Meeting her in person, when she's fully clothed with dyed-black hair, you'd never guess she's the underwear-clad (and sometimes nude) blond woman in her photographs. The process of shooting them is so intimate that she does it herself, setting the timer and then leaping into position before the shutter clicks. Once they appear on the gallery wall, though, they're no longer private, but impersonal observations on seeing and being seen. Her images describe, specifically from a female perspective, the many ways women present themselves to the world and view themselves when they're alone. Some are seemingly straightforward portraits; others are loaded with signifiers of class, subculture, fetish, or personal taste: fishnets, cigarette butts, bondage gear. She doesn't photograph models, but real people with real, imperfect bodies. In the Mirror, one of her self-portraits, shows her in a defiantly individualized light, wearing lacy black underwear with gym socks and athletic shoes. She's both girlie and not girlie, self-critical and self-exploratory, playing to the camera and ignoring it. She looks at her own body as the outside world does, and then inverts that view, reveling in the power of her own gaze – to make herself an object or not, according to her whim. Some of the most revealing photos in the show, however, aren't of bodies. Sea Dragon, for instance, shows the whirling, blaring lights of a Ferris wheel. Looking at this carnival attraction through the eyes of the profoundly self-conscious Holmes suggests multiple metaphors for physicality and power: the power to disorient, amuse, and captivate. To thrill or inspire fear. To capture and cage or to liberate. Tues.-Sun., noon-7 p.m., 839 Larkin, S.F. (415) 931-8035. (Lindsey Westbrook)