Gillian Wearing is considered to be a member of the generation of Young British Artists that achieved global visibility in the nineteen nineties.
From her well-known series Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992-1993) and the slightly later Homage to the Woman With the Bandaged Face Who I Saw Yesterday Down Walworth Road (1995) to her video series Confess all on video. Don’t worry, you will be in disguise. Intrigued? Call Gillian… (1994), or Secrets and Lies (2009), Gillian Wearing’s work has been articulated on the ongoing exploration of how to create dialogic spaces in which confession and testimony occur naturally. However, the influence of social reportage and television talk shows is apparent not only in the artist’s propensity to invite confession: she also borrows from the media sphere the notion of truth as a construct, a sense that extends all the way down to the most intimate and subjective of individual truths. Throughout her career, this English artist has turned to the portrait to make visible the conventional nature of the truths we are prepared to believe in order to live in a community, opening up platforms on which to expose, naked, the subjects with whom she works.
Paloma Checa Gismero