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Arts & Communication Self-portraits as masks

references to the work of sociologist Erving Goffman. It
also presents the works in chronological order to highlight
the different modes of self-representation adopted by the
artist over time. Despite the aforementioned initiatives,
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there is still no theoretical production that thoroughly
addresses the significance of the mask in Wearing’s work,
placing it in the postmodern context. In general, there
is a paucity of scholarly publications on the work of this
artist although she has received significant recognition,
including winning the 1997 Turner Prize, and exhibited
works in major museums and institutions. Therefore, this
article aims to contribute to the existing body of knowledge
by identifying theoretical frameworks that can provide
new insights into the study of the self-portrait in Wearing’s
work as well as that of other contemporary artists.

2. The face as a mask, the mask as a face
The mask plays a central role in Wearing’s practice,
particularly in her works from the early 2000s, such as
the Family Album photographic series (2003 – 2006).
Wearing presents herself with the features of her relatives
by reproducing images from her family album. The artist,
thus, explores the ambiguity of self-perception and the
perception of others by taking on the faces, bodies, and
identities of her family members. Figure 1. Gillian Wearing, I’m desperate, 1992 – 1993. Photograph, color,
chromogenic print, on paper. © Gillian Wearing, courtesy Maureen
While Family Album is a significant milestone in the Pauley, London
evolution of Wearing’s language, mask-related elements
can also be found in her earlier works, although they were second face, but rather produce masks with our own face by
not associated with the theme of self-representation. For making it expressionless or by grimacing.” Belting treats the
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her well-known work Signs That Say What You Want Them face as the figurative medium necessary to make the body
to Say and Not Signs That Say What Someone Else Wants an image: in this sense, it represents a temporary image of
You to Say (1992 – 1993), Wearing photographed passersby the person, not the true self. Subject to mimicry, gaze, and
holding blank paper signs, upon which they wrote their language, the face is the seat of multiple images of the self, cast
thoughts and messages. The work highlights the contrast as masks according to circumstance. Confirming Belting’s
between the physical appearance of the subject and the statement, the face of the protagonist in I’m Desperate
thoughts expressed on the paper. 10 is configured as a mask worn to reflect the expectations
In this first series of photographs, although the mask is demanded by his role in society, creating an image capable of
not materially present yet, its symbolic function permeates mimetically concealing the unhappiness being experienced.
the work. Examining the image I’m Desperate, for example, Wearing’s exploration of people’s inner states and the image
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the theme of the series (i.e., the conflicting relationship projected in the social context is further developed in the
between interiority/exteriority, the individual, and the social video Confess All on Video. Don’t worry, You’ll be in Disguise.
environment) clearly emerges (Figure 1). The businessman’s Intrigued? Call Gillian (1994), where the element of the mask
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face and posture convey confidence and control, in keeping appears for the 1 time in a tangible way. The operation
st
with his attire, but the sign he holds reveals the state of begins with an advertisement in the magazine Time Out that
impenetrable desperation in which he lives. contains the text quoted in the title, inviting volunteers to
The subject’s face appears to confirm one of the theses confide in front of a camera. The artist selects 10 people from
presented by art historian and theorist Hans Belting in his among those who had responded to the advertisement, gives
essay on the history of the face. The contrast between the them a choice of disguises, and films them as they reveal their
subject’s mood and physical appearance is striking. Belting secrets, which usually concern betrayal, revenge, violence,
argues that the face has the capacity to become a mask. He or sexual acts. In this case, camouflage is introduced to
states the following: “We do not have access to an artificial protect the privacy of the 10 volunteers, who are invited to

Volume 3 Issue 2 (2025) olume 3 Issue 2 (2025)
doi: 10.36922/ac.338510.36922/ac.3385
V 2 2 doi: