Unveiling the extraordinary in the ordinary with The British Art Prize 2022 winner.
By Ramsha Vistro
SOME ARTISTS POSSESS the astonishing ability to transform the mundane into something truly exceptional. British artist Gary Armer is a prime example of this rare talent. With an illustrious career spanning over a decade, Gary has made a significant mark in the art world by redefining still life painting and challenging our perceptions of the everyday.
His artistic journey is a compelling narrative that demonstrates the fusion of creativity, determination and the power of storytelling. His fascination with art began early in life but it was during his college years that he was captivated by oil painting. While he initially pursued a career in marketing and design, his passion for art remained steadfast, quietly waiting for the right moment to resurface.
“Art was the subject that I excelled in at primary and secondary school, but it was at college that I fell in love with oil painting. I won awards for painting and graphic design at college and went on to study design at university,” he shares. “My fascination with branding led me into a career in marketing working with a creative agency, but all the while I was painting alongside.”
Gary’s creative evolution unfolded gradually, guided by a relentless pursuit of excellence. He honed his skills through workshops at institutions such as the London Atelier of Representational Art and the Northern Realist in Manchester. During this time, he embarked on a journey of ▸ rediscovery by painting still life arrangements – often featuring cherished items – aiming to explore the profound connection between objects and memories.
The turning point in his career arrived when he embarked on a daring experiment, painting his collection of toy dinosaurs from his childhood. As the COVID-19 pandemic forced the world into lockdown, Gary seized the opportunity to bring his long-held vision to life. Life Finds a Way became his masterpiece, taking over 200 hours to create. This intricate painting marked a significant departure from traditional still life, introducing viewers to a realm of ‘organised chaos’ that resonated deeply with audiences.
“The morning that I started planning the painting in my studio was memorable, as I opened this box of toys that I hadn’t really looked at for over 25 years. I was obsessed with dinosaurs as a youngster and then in 1993, Jurassic Park hit the movie screens which was amazin
