Gary Sheridan
GARY SHERIDAN
It was whilst studying photography at the University of Wolverhampton in the UK that Gary found his passion for conceptual photography. His work draws on personal experience and his natural inquisitiveness in human behaviour.
He constructs (often building sets in his studio) a series of work from a concept, or he will see images in everyday life that speaks volumes to him. Whichever method of construction he uses, he intends the images to be multi-layered and engage the viewer thoughtfully and aesthetically. His work is vibrant, beautiful and seductive, with a vein of humour that runs through its body, just as life should be, yet life is not always a bed of roses and Gary’s work often breaks down the façade to reveal…
Recent Awards
Official Selection – International Photography Awards - IPA 2022
Jury Top 5 – International Photography Awards - IPA 2022
Highly Commended - Siena Awards 2021 Creative Photography Awards.
Honorable Mention - Annual Photography Awards - FineArt - APA 2021
Honorable Mention - Budapest International Photo Awards - BIFA 2021
3 x Nominee - Fine Art Photography Awards – 2020/2021 FAPA
Gold Award – Paris Photography Prize - PX3 2020
Bronze Award - Tokyo International Photo Awards - TIFA 2020
Honorable Mention in Fine Art - ND Awards 2020
2 x Honorable Mention - Annual Photography Awards - FineArt - APA 2020
Honorable Mention - Monochrome Photography Awards - 2020
Honorable Mention – International Photography Awards - IPA 2020
Honorable Mention - Black & White Spider Awards - 2020
Bronze Award – Worlds Top 10 Fashion Photo, Fine Art, One Eyeland 2019
3 x Honorable Mention – International Photography Awards, Fine Art Series 2019 IPA
Bronze Award - Tokyo International Photo Awards - TIFA 2019
Honorable Mention - International Photography Awards, Street Photography 2019 IPA
Nominee - Fine Art Photography Awards – Conceptual 2019 FAPA
Finalist - Worlds Top 10 Fashion Photo 2018 - Oneyeland
Honorable Mention - International Photography Awards, Fine Art Portrait 2018 IPA
ARPS – Royal Photographic Society
BA Hons 1st – Photography - Wolverhampton University UK
Agent Anxiety
The Agent Anxiety is a constructed narrative based on a fictional concept and reality, "life is stranger than fiction" after all? On the surface it is a story of anxiety, self-doubt, and personal empowerment. The spectator doesn't have to delve far beneath the surface to question issues of representation and societal roles.
The images are provocative, cliched, ironic and kitsch, a confusion of images with both unambiguous and ambiguous meaning. Adding to the perplexity, the narrative is both dark and humorous, experience the twist and turns as the story unfolds. Who is the imposter? The intention of the concept and the interpretation are often poles apart, it is this conflict that this series also plays with, which is more important the concept or its interpretation? Is the imposter the reader or the writer?
“I am not who you think I am; I am not who I think I am; I am who I think you think I am” Charles Horton Cooley..
My Corona
Born from the frustration of being confined during the first Covid-19 lockdown in the UK, the series started with me as the subject, the Confined image, which is where it intended to end. But the frustration turned into anxiety, not from the fear of contracting the virus but from the fear of what the measures taken to reduce the R number would do to a society that I felt had already become insular and decreasingly empathetic. What followed was a series of images over a 10-month period endeavouring to aestheticize my emotional journey, both rational and irrational feelings. Constructing the images became therapeutic, an important part of rationalising the loss of liberty and my freedom to interact with loved ones. The act of constructing the images returned control in my direction.
When life becomes difficult, I have always sought solace in family and friends, yet this support network had been taken away. Anything other than face to face contact was never going to satisfy my aching for physical contact with family and friends.
Once again, the country was divided in their opinions, we were still dealing with the divisions caused by Brexit and were now judging people on their attitude towards the measures taken to combat the virus.
Our social circles had become our enemy, Infested with stats of infection rates, death toles, projections of unemployment and a failing economy. We deal with fear in society every day, there are risks to living, life is not just about surviving, so we rationalise them, yet maybe this COVID-19 fear combined with insecurity for our economic futures is pushing peoples coping mechanism too far. The evidence was there, people in my social circle with no previous history of mental health problem were suffering with anxiety and depression.
So, the series continued, encompassing the above, still with the creative restriction of my four walls and outside locations within a certain radius of my home. But it was no longer just about my feelings, about me, it endeavoured to capture the feelings of others, with a mixture of empathy and sometimes my vein of humour, depending on my own state of mind at the conception of the images. Although the dark humour may seem inappropriate it played an important psychological role in the healing process, a reprieve from the stress and anxiety. I doubt the series is finished but the images start to depict a sense of healing and recovery, some optimism.
Masticating Masters
This series alludes to religious iconography and makes direct reference to paintings by the Old Masters - Fuseli, Velazquez, Caravaggio, and Jacques-Louis David. Deconstructing and reconstructing the references and metaphors adding layers of meaning, guiding the spectator to a less ambiguous reading.
The collaboration of minds and the artistic talents of Gary Sheridan (Photographer) and Gemma Hadley (Model) tells the story of Gemma’s battle to overcome her eating disorder, aestheticizing her intense emotional responses/ the intensity of her feelings), the side-effects and scars. In a perfectionistic society which glorifies a form-over-function vision of the female body, this further oxygenates/fuels the burning flame. Gemma’s words below encompass her strength to overcome.
‘I am my own icon. I challenge the beliefs and ideals that have haunted my mind and driven my body to destruction.’
When observed, beauty is pleasure. Beauty is perfection. It’s a visual symphony, effortless and entrancing. It’s addictive and we either want it, or we want to be it. The perfect body. A beautiful face. Society tells us that this is what we desire, the key to contentment.
But what really lies behind all of this? Unlock the front door of social media, models, and normalised objectification, and behind it you will find corridors of conflict, cupboards of chaos and cellars of self-questioning.
Sinking in self-hatred, tormented by what we will never be and drowning in the sorrow of self-inflicted suffering. The mental and physical pain created by never-ending social feeds, quick-fixes and celebrity endorsements cannot be underestimated.
As modern-day iconoclasts we must challenge this. Confront the succubus that haunts us, face the monkeys on our back and question what we see... “social media impersonates art and art is an illusion.”
In Dreams
The In Dreams series plays with musical and cinematic references adding layers of intangible meaning to the scene. The artificially lit room represents 21st century ideals and failures. We can be whatever we want to be if we work hard enough and dream big enough, unrealistic expectations are encouraged. Dissatisfied with reality we hope, dream and pray of a better future. In an increasingly individualistic society, we can only blame ourselves when failure ensues and the stars are not reached, but we are only surrounded by clouds.
Regression Therapy & Cryogenics
Dealing with the clouds, the Regression Therapy & Cryogenics series is a parody of a time when therapy is part of every day 21st century life. When all else fails we always have the option of cryogenics, we can be defrosted when the world is a better place. Cryogenics may not be a viable option but the time when we need therapy to cope with the pressures and insecurity of 21st century living is here and now.
“In a mad world only the mad are sane” Akira Kurosawa.
Waiting for The Tide to Turn
The Waiting for the Tide to Turn series farcically explores the emotions of a disenfranchised people. The images allude to a spectrum of thoughts, feelings and actions ranging from apathy and subservience to enlightenment and rebellion. The series envisages the realization that individualism is the weakness and only as a collective can they begin to turn the tide.
As the series progresses it becomes less implicit with chronologically ordered events on T-Day (Turning Day). The T-Day image depicts someone more able to cope with the toxic environment rescuing those less equipped to cope. We don’t all start from the same place or have the same abilities, we may not thrive in a problematic meritocratic society, where our worth to society, our self-worth is tied directly to our net worth. Envisaged social fairness, utopian ideals, seem to end in systematic unfairness, where portions of society feel they know longer have a voice. The series is ongoing but is already depicting the prevailing tide of mutual support and sympathy enabling those without a voice to begin to speak.
All That Glitters
The All That Glitters series aestheticizes the falling short of advertised perfection, the possessions and lifestyle.
Today the pursuit of money is almost directly linked to the pursuit of happiness. Money can give us freedom and possessions; we may make career decisions based on our socialized view of success. Affording us the possessions, rather than jobs that will make us truly satisfied and happy. Yet the happiness afforded by possessions will only bring short lived moments of pleasure. If we are unfulfilled by our jobs, every week waiting for the Friday feeling, are we really successful or free?
I wanted the series to project the feeling of being trapped in a depressing cycle, equating glittering possessions with happiness but only ever getting short lived satisfaction that will need constant feeding. The Friday feeling will never be enough.
Friday I’m in Love
Saturday Wait
Sunday Always Comes Too Late
Monday You Can Hold Your Head
Tuesday Stay in Bed
Wednesday Stay in Bed
Thursday Watch the Walls Instead
Friday I’m in Love
Empty
Lyrics by The Cure (Friday I’m in Love)
Are Friends Electric
Are Friends Electric is a farcical exploration into the rise of mental health issues in society with the emphasis on measures taken to treat mental health problems and in particular E.C.T.
My work often targets societies role and the way we live our lives with the intention of prevention of mental illness rather than cure. This series farcically asks the question, do we take responsibility for our own mental health by changing the way we live our lives, or do we self-medicate when mental illness takes control.
Electroconvulsive therapy, or ECT for short, is a treatment that involves sending an electric current through your brain, causing a brief surge of electrical activity within your brain (also known as a seizure). The aim of the treatment is to relieve the symptoms of some mental health problems.
The use of ECT as a treatment for depression by the year 2000 had almost died out completely, but there is now a resurgence in its use despite mixed medical opinions of its effectiveness.
ECT is back in fashion.