Gillian Wearing , born in Birmingham, England, in 1963, Wearing moved to London to study art at the Chelsea School of Art. She received her fine art degree from the acclaimed Goldsmiths College, now recognized as the training ground of the "Young British Artists," or YBAs, a closely-knit group of artists who have achieved international attention for their often sensational style of art. Wearing is a key figure alongside other YBA compatriots Tracey Emin, Damien Hirst, Jane and Louise Wildon, and Chris Ofili.

The artist's fascination with social behaviour has been influenced by the 1970's 'fly-on-the-wall' style of British documentary such as Franc Roddam and Paul Watson's The Family (1974) and Michael Apted's 7-Up (1964) and brings to mind the recent documentary "Capturing the Friedmans" by Andrew Jarecki. Today, American audiences can relate aspects of Wearing's work to the flood of indistinguishable confessional-style TV talk shows and reality programs. Like Jarecki's film, however, Wearing is more complex. In 2 into 1, she separately interviewed a mother and her two sons. She then filmed them lip-synching the critical commentary made by the others, forcing participants (and even viewers) to confront the true nature of their relationships.

When most people are stopped in the street they expect to be asked questions usually concerned with either a product, money, a survey, a personality test or directions. To be asked only to write something, anything, presents a challenge and creates a totally different relationship to the person posing the question. The bizarre request to be 'captured' on film by a complete stranger is compounded by a non-specific space; the blank piece of paper, which almost replicates an unexposed film.
Perhaps the fascination in the relationship between the person and their slogan is in the confidence or diffidence of the people being 'imaged' in the first place.
This image interrupts the logic of photo-documentary and snapshot photography by the subjects clear collusion and engineering of their own representation.
Gillian Wearing Signs that say what you want them to say and not signs that say what someone else wants you to say. In Signs I was surprised at how willing people were to allow such an invasion of their own privacy to occur. It made me feel uncomfortable, but maybe this was an acknowledgement of our fascination with people who are 'on the edge'. There is perhaps a fine line between that fascination, and actually finding it funny.

As a series, I don't find it humorous at all, that's just the one that covers everything. What might make it uncomfortable is people being so honest. Especially within the art world, you can get very guarded. That's why I ask strangers, because people are much more honest to someone they're not going to see again.

Signs has such a wide breadth, from homelessness to homosexuality to insanity, and it is this scope that separates it from social commentary.

It leaves a lot to the imagination, that's what art should do. It leaves you something to go away with, something to think about. It doesn't say: this is a story, completely, and this is my take on it.

Wearing is an artist who works with photography, video and recordings of performances, but she is happy to characterise her art as "a kind of portraiture". She has sometimes used masks and other disguises to remove the face that is our immediate visual clue to a person; it's as if she distrusts the face. In Confess All on Video she has people tell their secrets while wearing novelty masks; in Homage to The Woman With a Bandaged Face Who I Saw Yesterday Down Walworth Road she bandaged her face and had herself videoed walking down the high street.

But the one that always pulls me up is this video of Wearing dancing like a bacchante in a floral shirt in a south London shopping centre.

It's a hilarious, ludicrous image of ecstasy, as someone appears to go off their head in a public place. But it also has that quality of another person being absolutely there, and at the same time absolutely other, that is characteristic of great portraits.

If that sounds too much, try a south Londoner, William Blake: "The most sublime act is to set another before you." This portrait is an attempt to become, rather than to paint, another person. Wearing was in the Royal Festival Hall, she remembers, and a jazz band was playing. She wasn't listening to the jazz but "just wandering around" when she saw a woman dancing madly by herself. "This woman caught my eye. She was completely separate. She was dancing not in sync with the music at all. She was caught in the moment."

She was gripped by the image of someone just going crazy, behaving in a public place as they might in their own bedroom. "Sometimes when I see someone it goes through my head endlessly." She thought of asking this woman if she could film her but instead set out to re-create the scene.

Dancing in Peckham is a 25-minute video that shows on an ordinary television monitor. The dancer, Gillian Wearing, under the vaulted glass roof, on the shiny pavement, has a look of intense seriousness on her face. She throws her hair about, shakes, gets down. She looks ridiculous, in a public place in broad daylight. She is not dancing to a Walkman, just to sounds in her head. Before making the video she practised dancing to some of her favourite music - Nirvana, Queen, Gloria Gaynor.

In the course of the tape she changes style, moving to different imaginary sounds. In all that time no one comes up to her, no one stops her. They walk on by, looking contemptuous or indifferent. The piece multiplies mysteries. The other people, the ones walking by, become as mysterious as the dancer. Those old people in the background - who are they? That boy striding past in dark glasses - what is he thinking? This is simultaneously a portrait of an unnamed woman seen at the Royal Festival Hall, a self-portrait, and an image of what it is to be lost in a private rhapsody.

when I started doing the work I wasn't interested in the idea of it being about the everyday, I was just interested in people- 'Everyday' sounds like the idea of normality — it sounds quite depressing! My work's not in any way an argument against the idea of high art, Minimalism or something like that, it's not set up against that, or rebelling against it. When I began taking photographs I thought they might work better in magazines, in a journalistic sense, rather than as art.

I ended up with those pictures because I was getting very bad videos that reminded me too much of how television would approach it, but not even good television! So the problem when I was doing the vox pop videos was that I didn't think they worked as art at all — my amateur camera work was terrible. When I look back at it, it was very exciting doing it — it was very weird and different — but when I got the results back I realized that I wasn't actually interested in what the people were saying. So I wanted to find something that would work. I was working at this art centre part-time and I started writing things out on a piece of paper and handing them to people. I'd ask them to hold it up then I'd photograph them — they were people that I knew, and the results were all very funny, but I felt lazy about it as well, Then one day I went to Regents Park, which was opposite the art centre, and asked four people to write anything they wanted to, and one woman wrote: I REALLY LOVE REGENTS PARK. I remember when she wrote it down the way she was looking — she was in her sixties and she had a lovely face — and I thought it was great, and quite banal. She held it up and it was winter and I knew without even pressing the button that it worked, and I thought that I'd start asking more people. So it started off not being anything — I don't always work like that. I didn't even know what it was I was looking for. I'm a very forward looking person, but what interests me is the idea of what happens to your life. It's like when you're young you think you're going to know the same people for the rest of your life. and you never do, people slip through your net of contacts. When you get older you end up getting more involved in what you're doing, and seeing less and less of the people you know. I'm quite intrigued about what happens.

Turner prizewinner in 1997 who has made 70s documentary television into fine art and has been copied in turn by TV programme-makers and advertisers. Gillian Wearing was the second of only three women to have won the Turner prize, and the year she did so was notable also for featuring an all-women shortlist: Wearing, Christine Borland, Cornelia Parker and Angela Bulloch. After complaints about the previous year's all-male shortlist, the 1997 line-up led to a press ballyhoo about political correctness (despite the fact a man, Julian Opie, had been invited on to the shortlist and had declined).

Young British Artists or YBAs  also Brit artists and Britart  a group of conceptual artists, painters, sculptors and installation artists derived from the Sensation Saatchi Gallery Exhibition.

Gillian Wearing im desperate painting on rolled canvas painted with artists acrylic paint. Hand painted copy.

30" x 40" canvas

R.R.P. £179.99

SALE Price £97

Gillian Wearing Pin-Ups painting on rolled canvas painted with artists acrylic paint. Hand painted copy.

30" x 40" canvas

R.R.P. £179.99

SALE Price £97

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