This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at https://www.theguardian.com/artanddesign/2017/mar/08/gillian-wearing-facing-future-digitally-ages-new-artwork

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
Facing the future: Gillian Wearing digitally ages herself in new artwork Facing the future: Gillian Wearing digitally ages herself in new artwork
(about 2 hours later)
Not everyone will want to know what they might look like when they are 70, but the artist Gillian Wearing is more than happy to contemplate it, dozens of times.Not everyone will want to know what they might look like when they are 70, but the artist Gillian Wearing is more than happy to contemplate it, dozens of times.
The National Portrait Gallery on Wednesday unveiled a huge wall of images called Rock ’n’ Roll 70 Wallpaper showing a digitally aged Wearing in about 30 different situations and clothes.The National Portrait Gallery on Wednesday unveiled a huge wall of images called Rock ’n’ Roll 70 Wallpaper showing a digitally aged Wearing in about 30 different situations and clothes.
They include Wearing as a 70-year-old biker girl in a white vest with breast enhancements and tattoos, and a more down-to-earth Wearing in a dowdy yellow sweater posing happily with her real-life partner Michael Landy, who is also digitally aged. They include Wearing as a 70-year-old biker girl in a white vest with breast enhancements and tattoos, and a more down-to-earth Wearing in a dowdy yellow sweater posing happily with her real-life partner, Michael Landy, who is also digitally aged.
There is also a triptych comprising an image of Wearing as she is today, one of her digitally aged, and a blank space to be filled in with a photograph when the artist really is 70.There is also a triptych comprising an image of Wearing as she is today, one of her digitally aged, and a blank space to be filled in with a photograph when the artist really is 70.
Sarah Howgate, the gallery’s contemporary curator, said Wearing worked closely with forensic scientists for the project. “It is exploring issues which affect us all ... ageing, memento mori, the transience of life,” she said.Sarah Howgate, the gallery’s contemporary curator, said Wearing worked closely with forensic scientists for the project. “It is exploring issues which affect us all ... ageing, memento mori, the transience of life,” she said.
The work is part of a new show opening on Thursday which presents works by Wearing alongside pieces by the early 20th-century French surrealist artist Claude Cahun. The work is part of a new show opening on Thursday that presents works by Wearing alongside pieces by the early 20th-century French surrealist artist Claude Cahun.
Both are from vastly different backgrounds but there are many parallels between them, hence the reason for the show.Both are from vastly different backgrounds but there are many parallels between them, hence the reason for the show.
Cahun was born Lucy Schwob in Nantes, France, in 1894. Around 1919 she changed her name to Claude Cahun and soon after met her lifelong partner, Suzanne Malherbe, who followed suit by changing her name to Marcel Moore.Cahun was born Lucy Schwob in Nantes, France, in 1894. Around 1919 she changed her name to Claude Cahun and soon after met her lifelong partner, Suzanne Malherbe, who followed suit by changing her name to Marcel Moore.
Cahun considered herself neither male nor female. “She is unpindownable,” said Howgate. “She referred to herself as gender neutral and the work she made was not for exhibition, it was about her exploring herself and her multiple selves for herself.” Cahun considered herself to be neither male nor female. “She is unpindownable,” said Howgate. “She referred to herself as gender neutral and the work she made was not for exhibition, it was about her exploring herself and her multiple selves for herself.”
Birmingham-born Wearing, who left school with no qualifications before rising to prominence as one the YBA generation of artists, is interested in themes which exercised Cahun – gender, identity, masquerade and performance. Birmingham-born Wearing, who left school with no qualifications before rising to prominence as one the YBA generation of artists, is interested in themes that exercised Cahun – gender, identity, masquerade and performance.
• Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask is at the National Portrait Gallery from 9 March to 29 May.• Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask is at the National Portrait Gallery from 9 March to 29 May.