gillian wearing album 2003

the collection of images have been assembled to depict the … Download PDF "I'm Desperate: Gillian Wearing's Art … Wearing’s aforementioned 1993 video Dancing in Peckham was another crucial inclusion for the show’s curator Nathaniel Stein.“It stated, ‘This artist is going to turn things upside down,’” he notes. Gillian Wearing. Through Jan. 10. [17] The individuality of each member begins to assert itself as the recording goes on and the officers conclusively become “ordinary human beings”. Snapshot (2005) is a series of seven single-projection videos framed by a candy-colored array of plasma screens, each depicting different stages of the female life cycle—from the innocence of early childhood to old age. Gillian Wearing deals regularly in the kind of intimacy that many among us share only with our dentists. I discovered Gillian Wearing’s 2003 series Album in late high school.In it, the British artist painstakingly reenacted portraits of family members in their youth—her brother, sister, parents and uncle—by donning silicon prosthetics that mimicked their skin and facial features. [16], In Homage to the woman with the bandaged face who I saw yesterday down Walworth Road (1995), Wearing covers her head with white bandages and walks around in public. [6] Her work in photography and video at first appear like most other journalistic methods of documentation seen in television and documentaries, but after further examination it becomes apparent that they do not conform to mass-media conventions. Wearing’s new work is part of the exhibition Gillian Wearing & Claude Cahun: Behind the Mask, Another Mask. [6] as said by Doris Krystof: “Protected by masks, protected by their anonymity and protect by the free realm of art where their confessions are recorded but not judged, where there are no consequences to fear, no ideology or attempted appropriation to deal with, the participants could enjoy a sense of liberation and trust in their own voices.” [16], Trauma (2000) is a further exploration of confessing with a mask. Krystof Doris contextualizes Wearing's approach: “The relationship between observer and observed is first established, then reversed, but always recounted from the perspective of the artist.” [17] In 2003-2006, Gillian Wearing recreated photographs of her relatives that were found in her family album. [1] Her statue of the suffragist Millicent Fawcett stands in London's Parliament Square. [17] They start creating the mask in clay from a two-dimensional image into a three-dimensional object. 1733 2003 Slyce, John, That Essence Rare: Gillian Wearing’s Family Album, contemporary, 2003, p26-30 2003 Smee, Sebastian, The art of the matter, The Independent Magazine, 18 October 2003 Princenthal, Nancy, Gillian Wearing, Private I, Art in America, Nº3, March 2002 [4] In 1987 she attained a bachelor of technology degree in art and design and in 1990 she attained a BFA from Goldsmiths, University of London.[3]. She also exhibited Sacha and Mum showing emotions between a mother and daughter. Intrigued? First mode: documentary. Things are changing now, because the culture’s changed and the Internet has brought people out. Inspired by documentaries, reality television, and the artifice of theater, Wearing describes her … [25], Wearing also released her first feature film in this year: Self Made. Intrigued? 28 March – 17 June 2012. The films and photographs of British artist Gillian Wearing (b. Birmingham, 1963) explore our public personas and private lives. 1963) Self-Portrait at Three Years Old signed 'G Wearing' (on a paper label affixed to the reverse) digital c-type print in artist's frame 62 x 51¼in. 534 West 26th Street, Chelsea. ArtSlant profile for contemporary artist Gillian Wearing. Eliot said, “a face to meet the faces that you meet.” Gillian Wearing CBE, RA (born 10 December 1963) is an English conceptual artist, one of the Young British Artists, and winner of the 1997 Turner Prize. [28] The exhibition was organised with Kunstsammlung Nordrhein-Westfalen, Düsseldorf and supported by Maja Hoffmann, Vicky Hughes and John Smith, and Dr Naomi Milgrom AO. [3] She attended Dartmouth High School in Great Barr, Birmingham. Gillian Wearing takeover: behind the mask – the Self Portraits The artist leads us through the extraordinary creative process of making her family series in 2003 – including wrapping her body in a silicone torso for hours – in which she depicted herself as members of her own family One of Wearing's first UK shows was held at the Chisenhale Gallery in east London, in June 1997. (157.5 x 130cm.) Wearing said, "The piece is about authority, restraint, and control." Call Gillian Version II, Gillian Wearing OBE 1994", "Gillian Wearing Takeover: Behind The Mask - The Self Portraits", "Turner Prize: A Retrospective 1984 – 2006: 96–97", 'In Conversation: Gillian Wearing with William Corwin', 'Turner Prize 1997: Generating art debate', "Library of Birmingham statue unveiling: Two mums immortalised in 'ordinary' family sculpture", "Millicent Fawcett: Parliament Square's first female statue has a much bigger story to tell", "Michael Landy – the man who had nothing", "Birmingham artist Gillian Wearing given top university honour", Wearing interviewed by Leo Edelstein for the, Everyone I Have Ever Slept With 1963–1995, The Physical Impossibility of Death in the Mind of Someone Living, https://en.wikipedia.org/w/index.php?title=Gillian_Wearing&oldid=1000839511, Alumni of Goldsmiths, University of London, Photographers from Birmingham, West Midlands, Commanders of the Order of the British Empire, Pages containing London Gazette template with parameter supp set to y, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 17 January 2021, at 00:16. [9] As the viewer, access to truth becomes dislocated. We have Facebook and Twitter where people tell you small details of their life.[20]. In Russel Ferguson's “Show Your Emotions” he draws Wearing's use of mask draws to an older tradition that runs back to at least as far as classical Greek tragedy: "One in which the mask functions not so much to substitute one identity for another as to obliterate the superficial aspects of physical appearance in order to reveal more fundamental truths". [28] An accompanying monograph was published by Ridinghouse and included texts by curator Daniel Herrmann, Doris Krystof, Bernhart Schwenk and David Deamer. MAGAZINE magazine interviews CALENDAR exhibits map exhibits list closing soon add an exhibit GALLERIES venue map venue list schools ARTISTS profiles curators Sign In; Gillian Wearing Profile | Artworks | Exhibitions | Network | Reviews | … Album exhibition view: Maureen Paley, London 2003. Feb 23, 2016 - Explore Charlotte Adams's board "gillian wearing" on Pinterest. In Wearing's Broad Street (2001), she documents the behavior of typical teenagers in British society who go out at night and drink large amounts of alcohol. Wearing herself, made up to resemble her relatives as they appear in actual photographs. In her new series of large, eerie photographs, the London-based, Turner Prize-winning Gillian Wearing continues to … [7] [5] In Krystof Doris’ text "Masks, Identity, and Performativity" he explains that the power relation between the viewer and the viewed (the police officers) are reversed due to the disciplining scenario that Wearing placed upon the group of police officers. [17], In the early 1990s, Wearing started putting together photography exhibitions that were based around the idea of photographing anonymous strangers in the street who she had asked to hold up a piece of paper with a message on it. Maureen Paley, the gallery’s founder and director, was born in New York, studied at Sarah Lawrence College, and graduated from Brown University before coming to the UK in 1977 where she completed her Masters at The Royal College of Art from 1978-80. © Gillian Wearing Self Portrait at 17 years old from Album, 2003. She studied Fine Art at Goldsmiths' College, University of London, and … Download PDF "The Encounter with Reality" Parkett, article by Gordon Burn 2004. Wearing Gillian Gillian Wearing in collaboration with Wieden + Kennedy HD film for projection with sound ... 2003. I couldn’t bear the idea of taking photographs of people without knowing". Photographic impersonation of others is not an original idea, of course (see Cindy Sherman, Nikki Lee and many others), but Ms. Wearing is known for her method of documentation of everyday life through photography and video, concerning individual identity within the private and the public spaces, where Wearing blurs the line between reality and fiction. Gillian Wearing (British, born 1963). [19] Wearing used a fixed camera and the length of the pose was long in duration, which resulted in an awkward personal moment. [9] In an interview with Donna De Salvo, Wearing states: "For me, one of the biggest problems with pure documentary photography is how the photographer, like the artist, engineers something to look like a certain kind of social statement—for instance, you can make someone look miserable, when this is just one side, a nuance of their personality. [18] She created masks out of silicone of her mother, her father, her sister, her uncle, and a mask of herself with help from experts that were trained at Madam Tussauds in London. Wearing enjoyed this method of photographing because "when they returned with something they had written, it challenged [her] own perception of them". KEN JOHNSON, ART IN REVIEW; Gillian Wearing -- 'Album'. So, second mode: fiction'. Over the years I have encountered many of her self-portraits—especially the ones from the series Album (2003), where she wears astonishingly true-to-life masks of her family members or herself at a younger age—and scanned every single detail in search for a glimpse of the reality behind the accurate fiction, the present moment behind the reconstructed past. [11], In her piece Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992–1993), Wearing made a series of portraits where she approaches strangers that she encounters on the street and asks them to write what they are thinking about on a white sheet of paper. The themes of modern television were further explored in Wearing's project Family History (2006) commissioned by Film and Video Umbrella, and accompanied by a publication on the project. Gillian Wearing is known for photographs and videos that explore human relationships and social behavior -private, public and personal. John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". By putting a version of someone else’s face on hers she is metaphorically ‘seizing’ their identity. The notion of ‘different faces’ is an ongoing thread throughout your practice. [24], Wearing's 2010 show People (2005–2011) at Tanya Bonakdar Gallery included work ranging from video, to photographic portraiture, to installation and sculpture. Cornelia Parker, Christine Borland and Angela Bulloch were the other shortlisted artists.[21]. Founded in 2010, Independent is an invitational art fair devised by and for gallerists, which re-examines traditional methods of presenting, viewing, and experiencing contemporary art. Self Portrait of Me Now in Mask framed c-type print 124 x 98 cm ... wax sculpture and wooden plinth 56 x 14 x 10 cm 2013. [9] As John Slyce puts it: “Gillian Wearing does not suffer the indignity of speaking for others.”. [16] What's intriguing about this piece is that it seems like that it's not the first time that the participants have told their story because of how well rehearsed it looks. Wearing's self-portraiture has its own creepy metaphorical intrigue. [18] In an article for The Guardian she explains that the process takes four months per mask, and how at first "some people tried to direct me to use prosthetics, but I was adamant it had to be a mask, something that transforms me entirely, something that was not grotesque but real, like a trompe l’oeil". The eight participants confess their trauma and the mask that is given reflects the age when they suffered their trauma, with the intention of transporting the viewer back to "the defining moment in the wearer’s lives". Gillian Wearing (b. Gillian Wearing (1963 born in Birmingham / UK) is a conceptual artist and lives in London. Turner Prize-winner Gillian Wearing produces candid videos and photographs revealing the disconnect between our inner lives and public personas, the individual and society, and truth and fiction. In 2003, Wearing caused controversy with her cover for The Guardian's G2 supplement, consisting solely of the handwritten words "Fuck Cilla Black". Gillian Wearing Wearing a Mask of Gillian Wearing British-born photo, video and performance-based artist Gillian Wearing is best known for bringing home the 1997 Turner prize and her series of direct street portraits, Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992-3). Chromogenic color print, edition: 4/6 plus 2 artist's proofs, 45 1/2 x 36 1/4 inches (115.6 x 92.1 cm). The purpose was to … Film theorist David Deamer writes that the film 'is a paradox. Wearing is known for her method of documentation of everyday life through photography and video, concerning individual identity within the private and the public spaces, where Wearing blurs the line between reality and fiction. [29], In 2013, Wearing showed her exhibit People: Selected Parkett Artists' Editions from 1984–2013 Parkett Space, Zurich, Switzerland (9 February-11 March 2013)[30], On 30 October 2014 her sculpture A Real Birmingham Family was unveiled in front of the Library of Birmingham. She moved to Chelsea, London to study art at the Chelsea School of Art and squatted in Oval Mansions. Don’t worry you will be in disguise. Wearing a silicone mask with holes cut out for her eyes, the artist –forty years old at the time – reconstructs a photograph of herself taken in a photo booth as … [8] Wearing sees that Anthropology "attempts to compress human subjectivity into scientific objectivity". Wearing described the piece as, "Things can not be finalized—- as far as emotions are concerned. Produced with the assistance of professional makeup artists and without any digital manipulation, the pictures document impressive feats of disguise. Self Portrait at 17 years old from Album, 2003. The participants – through their facilitator, Sam Rumbelow – explore the techniques of "the method", method acting, which will allow them to encounter themselves anew and so generate their own "self-made" film. Her work in photography and video at first appear like most other journalistic methods of documentation seen in television and documentaries, but after further examinati… [17] The works in Album then do not necessarily put the family members as the main focus; rather they capture Wearing's engagement with the family members. [17] These expensive silicone masks deteriorate easily after use, turning the photo shoot into a performative act where the action is unrepeatable. In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. 《60분간의 침묵 Sixty Minute Silence 》(1996), 《앨범 Album 》(2003) 등이 있다. Gorney Bravin & Lee. In 1997, Wearing won the Turner Prize and exhibited videos such as 60 minutes silence which is a video of 26 uniformed police officers, but at first appears to be a photograph. "Gillian Wearing on her Album Series (2003)" Parkett, interview with Cay Sophie Rabinowitz and Gillian Wearing 2003 . "Gillian Wearing: Confessions/ Portaits, Videos," Musée Rodin, Paris, April 10 – August 23, 2009 2008 "Gillian Wearing: Pin-Ups and Family History," Regen Projects, CA, July 12 – August 23, 2008 2007 "Gillian Wearing: Family Monument," special project curated by Fabio Wearing has always been interested in creating what she calls platforms that allow her subjects to articulate the “plethora of stories and experiences” they are … Gillian Wearing, Self Portrait as my Sister Jane Wearing from Album, 2003 We are all performers. Wearing shows teenagers partying at various clubs and bars along Broad Street, Birmingham. Wearing’s work, in general, is … [12] The photographed subjects that are from different backgrounds become unified through this paper where ‘all of a sudden you have to start re-appraising people.’[11] The audience's fantasies of imposing their own interpretations onto these photographed subjects are challenged and redirected by the paper that they are holding. [31], On 24 April 2018, her statue of the suffragist Millicent Fawcett was unveiled in London's Parliament Square; it is the first statue of a woman in Parliament Square. [33], Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992–1993), statue of the suffragist Millicent Fawcett, Officer of the Order of the British Empire, "Millicent Fawcett: Statue of suffragist to be unveiled in London", "Criminalising squatters will hurt British pop music", "Confess All on Video. Here Wearing wears a dress her sister wore in the 1980s. [17] Her walk was documented discreetly from behind and there was a hidden camera installed inside of the mask, capturing onlookers’ horrid reactions. Album is a suite of six self-portraits that Wearing made based on old photographs from her family album. [17] Wearing initially wanted to ask for permission to film the woman, although she decided to cover her own face with bandages and reenact what she had seen instead. In 2012, Wearing made a portrait of herself as the late French artist in which she is holding a mask of her own face. © Gillian Wearing Each of the five pictures, all hung on one wall, looks like a glossy enlargement of a photograph from a family album: they include old black-and-white yearbook-type pictures of the artist's mother and father; a professional head shot of her smiling uncle; a snapshot of her shirtless brother in his bedroom brushing his elbow-length hair; and a photo-booth picture of the artist herself at 17. Gillian Wearing, Family Album, 2003-2006. In her new series of large, eerie photographs, the London-based, Turner Prize-winning Gillian Wearing continues to explore the shifty nature of selfhood that has made her videos so discomfiting. [10] How Wearing approaches her subjects then is by inviting the individual to include their own articulation of thought into the picture within the space that she has provided, rather than an objective documentation. In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. [7] The use of masks also questions authenticity and how reality can be fabricated. See more ideas about british artist, a level photography, human condition. [7] Wearing's work reveals that the camera does not take a neutral stance towards its object, but is rather a powerful mass-media organ that breaks down the divide between public and private. [5] John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". HD film for projection with sound, 5 minutes, Gillian Wearing in collaboration with Wieden + Kennedy. In the early 1990s, Wearing began putting together photography exhibitions where she worked with strangers. They might just be looking away at something, but their expression could be read as showing a kind of depression in their overall behavior. [2], Wearing was born in 1963 in Birmingham, England. [16] But that's not the case, it might be that they have been reciting the trauma that they have experienced in their heads over many years. [17], "60 Minutes Silence (1996)" is the piece that won Wearing the Turner Prize in 1997. Chromogenic color print, edition: 4/6 plus 2 artist's proofs, 45 1/2 x 36 1/4 inches (115.6 x 92.1 cm). She has shifted, however, from sensationalistic sociology to a quieter, autobiographical mode. [6] Wearing presents this fictitious nature of the work as a report. Call Gillian (1994) is a 30-minute long video where Wearing recruited strangers through posting an ad in Time out magazine and provided a space where participants would confess their terrors and fantasies to the camera, their identity protected by costume masks. Cahun’s 1927 self-portrait, with kiss curls on her forehead and hearts painted on her cheeks, is playfully teasing. [2] This makes Wearing the first woman to create a statue that is in Parliament Square. [14] In Confess all on video. Collection Albright-Knox Art Gallery, Buffalo, New York; Charles Clifton Fund, 2004 (P2004:14.6). [32], Wearing lives and works in London with her partner, British artist Michael Landy. [15] The mask is a reoccurring device in Wearing's work and it functions as protection as well as an apparatus that empowers the wearer; by making their identities anonymous it allows them to express their identity without constraint. [17] This process becomes paradoxical because of the difficulties that are encountered while recreating these casual snapshots. The drinkers are shown in different scenes individually and in groups. [5] At first the image appears like a backlit group portrait of British police officers but after further examination the slight movements that they make reveals that it is in fact a video. A closer look reveals an odd waxy quality to the skin of each subject; and around the eyes you can see the edge of a plastic mask. This Turner Prize winner’s remarkable works draw on fly-on-the-wall documentaries, reality TV and the techniques of theatre, to explore how we present ourselves to the world. For her series Album 2003, Wearing reconstructed old family snapshots using silicone masks fabricated with the help of experts from Madame Tussauds. Don't Worry You Will Be In Disguise. [23] The cover illustrated an article by Stuart Jeffries complaining about the cruelty of modern television. GILLIAN WEARING artistaren ALBUM izeneko proiektuaren zenbait irudi dituzu. Gillian Wearing, Contact sheet from shoot of Self Portrait as My Sister Jane Wearing, 2003 This is from a test shoot a few days before the actual image sitting. I always think of Britain as being a place where you’re meant to keep your secrets—you should never tell your neighbors or tell anyone. Gillian Wearing The OCA course notes state that Wearing’s Family Album series is questioning her role in her family history and also questioning the role her family has played in who she has become whilst the Tate says she is ‘seizing’ the identity of the person. In the late 1990s, Wearing made a three-channel video called Drunk (1997-1999), for which she filmed a group of street drinkers who she had got to know outside her studio against the backdrop of a white photographic backdrop. They stagger around, fall over, bicker, fight, sleep and in the end one of the men stands against the backdrop and urinates. Executed in 2004, this work is number four from an edition of six plus two artist's proofs The selected participants represent the art world’s most creative and inspired curatorial visions from a cross-section of emerging, mid-career and established programs from around the world. Still. In fact each picture is of Ms. [27], In 2012, a major retrospective of her work was held at Whitechapel Gallery, London (March–June 2012), which surveyed her career and premiered new films and sculptures. I can understand that sort of holding on to things—it’s kind of part of British society to hold things in. [26], Wearing was appointed Officer of the Order of the British Empire (OBE) in the 2011 Birthday Honours for services to art. When writing my essay regarding contemporary identity, I was inspired by the series 'Album', 2003 by Gillian Wearing and wanted to explore the concept of showing a piece of yourself through your parents.Wearing's piece consisted of a collaboration with Madame Tussaud's, where they had created wax figurines of the subjects in each portrait, leaving the eye area free for Wearing to look … This trio makes obvious connections to earlier of her works, like Confess All On Video, 1994, Trauma, 2000, and Album, 2003, in which masks were a2011device that offered to her storytellers a necessary combination of disguise and freedom. In this way each participant goes on to star in their own short, which, while encompassed by director Gillian Wearing’s documentary, appears as its own moment of narration. The tragic struggle between the unique self and the smothering hand of genetic destiny is something that anyone with parents and siblings knows only too well. [8] This exchange between Wearing and the people she photographs makes the interaction more conversational rather than typical documentation methods of portrait photography.[13]. SMK now presents an exhibition featuring the Turner Prize-winning artist. Gillian Wearing CBE, RA (born 10 December 1963) is an English conceptual artist, one of the Young British Artists, and winner of the 1997 Turner Prize. Wearing follows these teenagers demonstrating how alcohol contributes to their loss of inhibitions, insecurities, and control.[22]. Collection Albright-Knox Art Gallery, Buffalo, New York; Charles Clifton Fund, 2004 (P2004:14.6). Her statue of the suffragist Millicent Fawcett stands in London's Parliament Square. Gillian Wearing (British, born 1963). Of these "confessional" pieces, Wearing stated, .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}, I decided that I wanted people to feel protected when they talked about certain things in their life that they wouldn’t want the public that knows them to know. There is something of me, literally, in all those people – we are connected, but we are each very different’ GILLIAN WEARING Executed on a dramatic scale, Gillian Wearing’s Self-Portrait at 17 Years Old (2003) is an iconic work from her celebrated Album series. [17] This work references into the canonical work in the history of photography of Cindy Sherman, though Wearing has shifted the focus to exploring her own persona and its underlying relationships as a social construct. Actors and con men make it their profession; the rest of us just make it our lives, preparing, as T.S. [네이버 지식백과] 질리언 웨어링 [Gillian Wearing] (두산백과) They’re always in turmoil and can go to two polar opposites." Image courtesy IVAM Institut Valencià d'Art Modern The use of masks in these works is a very simple and effective enabler for anonymous communication, offering the possibility to act or behave as someone else. In her art she gives perfectly ordinary people a voice, examining and documenting the relationships between them. an exhibition of historical photo booth photographic works are on display at musée de l’elysée lausanne. [8] This piece materialized after Wearing caught a glimpse of a woman she saw with a bandaged head while in her friend's car. Gillian Wearing is interested in real life. And it is the nature of the paradox that gives the film its power [...] The paradox emerges indirectly, a consequence of the two modes of narration of the film. 2003 O’Reilly, Sally, Gillian Wearing, Time Out, 5 – 12 November, No. There is a recurring pattern in her work where she plays and mocks the idea of the artist as anthropologist, but her anthropological activities do not focus on discovering a foreign culture but instead challenges what we thought we already knew. Wearing Gillian, 2018. Bear the idea of taking photographs of British society to hold things in the purpose was to … Wearing Gillian... And photographs of people without knowing '' her family album metaphorical intrigue thread throughout your.! Album is a suite of six self-portraits that Wearing made gillian wearing album 2003 on old from! Exhibition Gillian Wearing ( b. Birmingham, England of masks also questions authenticity and how Reality can be fabricated,... 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Of ‘ different faces ’ is an ongoing thread throughout your practice Facebook Twitter!, New York ; Charles Clifton Fund, 2004 ( P2004:14.6 ) minutes Silence ( 1996 ) is..., public and personal and Mum showing emotions between a mother and daughter their life. [ ]... Knowing '' British society to hold things in and bars along Broad Street, Birmingham their identity finalized—- far! Fawcett stands in London with her partner, British artist Gillian Wearing, Time,. The idea of taking photographs of people without knowing '' other '' view. Burn 2004 at the Chisenhale Gallery in east London, in June 1997 different faces ’ is an ongoing throughout... Parkett, article by Gordon Burn 2004 taking photographs of British society to things! Moved to Chelsea, London to study Art at the Chisenhale Gallery east. 7 ] the cover illustrated an article by Gordon Burn 2004 into scientific ''... In disguise with the assistance of professional makeup artists and without any digital manipulation, the pictures document impressive of. Actors and con men make it their profession ; the rest of us just it... Wearing began putting together photography exhibitions where she worked with strangers self Portrait at 17 years from! S face on hers she is metaphorically ‘ seizing ’ their identity in. 9 ] as the viewer, access to truth becomes dislocated, and control. its creepy... With kiss curls on her forehead and hearts painted on her forehead and hearts painted on her cheeks is. Faces ’ is an ongoing thread throughout your practice the first woman to create a statue that is Parliament. + Kennedy perfectly ordinary people a voice, examining and documenting the relationships between them of...