Fergus Greer studied at St. Martin's School of Art, London, former assistant to Richard Avedon and Terence Donovan. He works for leading American and international magazines and has participated in numerous international exhibition.
Selected exhibitions: XTRAVAGANZA Staging Leigh Bowery, Kunsthalle Wien; 2007 The Perfect Man, White Columns, New York City; 2006 FERGUS GREER - PHOTOGRAPHER IN FOCUS, National Portrait Gallery, London; 2005 Always a little further, The Arsenale, 51st Biennale di Venezia; The future has a silver lining, Migros Museum für Gegenwartskunst, Zurich; 2004 Take a Bowery, Museum of Contemporary Art, Sydney.
The extensive series Looks by Fergus Greer was created over a period of six years (1988–1994) and in around forty photo shootings. Like no other, he succeeded in depicting Leigh Bowery between stylization and performance. The photographer posed the Australian performance artist before a neutral background in various outfits enwrapping his face and body entirely or adorning them sparingly. Thus Greer accented the theatricality and expressive posturing of Leigh Bowery. Even when he disappears fully behind his creations, Bowery’s spirit seems to play with the permeability of the garments enwrapping him and to push through them. In pictures rich in contrast that make use of a highly professional lighting concept, Fergus Greer underlines the sculptural quality of Bowery’s body. (Angela Stief, 2012)
I first met Leigh Bowery in 1986, at one of his shows in London. I was a bit taken aback: Leigh was in an outfit that made him look 7ft tall, and his face was covered in paint. But he just said: "Let's do some pictures." That was the start of our relationship. We worked together for eight years, until he died. I was never a clubber: I'd just come out of the army and was an outsider to the world of his performance. That gave us an interest in each other.
He'd call me about twice a year, saying he had some more "looks", as he called his costumes. I shot the series on large format. I'd just been working for Richard Avedon, and large format was his thing. You can keep all that wonderful detail, right down to the seam-lines. The cross-mixture of texture and fabric was so important to Leigh. You feel like you can almost reach out and touch it.(quot. Fergus Greer, 2011)