The Turner Prize-winning artist reflects on the lessons she’s learned over her three-decade career
to install a life-size bronze replica of Diane Arbus at the southeast entrance of Central Park; a spot where Arbus photographed many of her subjects.which joins the ranks of Wearing’s other photographic sculptures of women, such as that of the suffragist leader Millicent Fawcett in the Parliament Square – shows Arbus holding her Mamiyaflex camera.
series from the early 1990s. The series really taught me about the interior and that we should never look through the lens of someone with any preconceived ideas. Because ultimately everyone is interesting. Getting back to Arbus, there weren’t many photographs of her: she has become this mythological person. I wanted to capture the vulnerability of her waiting with her camera to take a photograph. Central Park was a studio to her, she was brought up in the area too. She is not on a plinth declaring her presence; she is amongst the visitors. A humble soul, like us all.
GW: I follow it a bit. I don’t research but I get a sense of it. Like when Instagram first came along, it seemed like the 21st-century family album. I do like the curated accounts of people who offer thoughts on what to see, read, and watch etc. Technology has always changed who we are, and of course social media is no exception – it has positives and negatives. The great thing is that it has given a lot of voiceless people a place to find a community.
Throughout my work, I have been interested in what is real and what is not real. It’s such a complex question because we live mostly in our heads: we have thousands of thoughts a day, some of those thoughts are projections of ideas, of how our days or weeks might be. They are subjective, but real to us.Self-Portrait at Three Years Old
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