질리언 웨어링(Gillian Wearing)은 개념적인 의미가 담긴 비디오 작업을 통해 ‘정체성’을 둘러싼 이슈를 자각하게 하였다. 특히 유성(有聲) 컬러 비디오 작업 <1 나누기 2 (혹은 하나 안의 둘) 2 into 1>는 한 가족 구성원 중 어머니와 쌍둥이 아들을 대상으로 인터뷰 한 것으로, 이 작업은 ‘립싱크’ 기법을 이용하여 화면에 나타난 대상의 모습과 귀로 듣게 되는 음성 사이의 간극으로 인하여 ‘정체성’ 개념의 복잡한 읽기 방식을 숙고하게 하였다. 웨어링의 작품에서 한 주체가 타자의 음성을 똑같이 따라 말하는 ‘더빙’, ‘립 싱크’ 기법은 감상자로 하여금 통합된 주체가 아닌 무엇인가가 구성 되어가는 주체, 혹 은 과정 중의 주체 개념을 환기시켰다. 정체성에 대한 고정된 인식을 깨뜨리는 웨어링의 <1 나누기 2(혹은 하나 안의 둘)>는 언어를 배우며 어머니의 욕망으로부터 분리되어 아이가 상상계에서 상징계로 이행하는 주체와 타자 개념과도 연결됨은 물론, 감상자로 하여금 자신과 타자와의 관계를 다시 보게 만들어 확고한 믿음이라는 시스템의 중심에 속해있는 모든 것들을 다시 보게끔 한다.

This study focuses on Portraits of the Wyatt Family of John Everett Millais (1829-1896) who was active in England during Victorian Age. Portraits of the Wyatt Family refers to both James Wyatt and his Granddaughter, Mary Wyatt (1849) and Eliza Wyatt and her Daughter, Sarah Wyatt (1850), and these paintings were done for his patron James Wyatt in the early stage of Pre-Raphaelites Brotherhood (P.R.B.). In the 19th century, the British Academy of painting did not move forward from just imitating the works of the past, paying the best tribute to Raphael and Michelangelo and pursuing Joshua Reynolds’s Discourses on Art of 18th century. In criticizing such a stream, P.R.B. came up to the surface in 1848 initiated by Millais, William Holman Hunt, and Dante Gabriel Rossetti with an emphasis on recovering sincerity in painting. In Portraits of the Wyatt Family, it contains various features. In this paper, these specific features are divided into two parts: detailed expression and expression of distorted perspective. It seems that P.R.B.’s belief that thorough observation on small details opens to a window to find the truth in them played as a source to enable detailed depiction. And Portraits of the Wyatt Family distorted the perspective of the high Renaissance traditional perspective. Distorted perspective makes viewers to look at the painting with the same perspective, which suggests a new approach of seeing the picture, not separating the center and periphery in the painting. This study shows that ‘images-within-images’ of the Portraits of the Wyatt Family function reversely from those in traditional art and they are directly reflecting the ideology attached to women in the mid-nineteenth century of Britain. In this paper, it analyzes that ‘images-within-images’ have two different characters at the same time. Thus, this study is significant in that this approach provides a chance to explore the implications in wider extent, instead of just seeing Portraits of the Wyatt Family as family pictures. This study interprets the Portraits of the Wyatt Family in line with the characteristics of P.R.B.. Therefore capturing various hidden meanings from the Portraits of the Wyatt Family and allowing better understanding of the work.