Perry primarily uses his artwork as a muse to depict different cultural subjects such as identity, the social class system, geographic locations and historical and contemporary themes in order to project a variety of challenging ideas within a global perspective. These ideas that are portrayed in Perry's work can also be seen to convey darker and much deeper narratives based on physical and mental abuse, environmental disasters, grief and in some cases morbidity or death causing his work to intentionally make individuals aware of the unfortunate defaults in humanity. However, similarly to his use of juxtaposition in terms of taking classical forms of art and making them contemporary, Perry takes these deep underlining themes of social disorder and drowns them in bright attractive 'pop art' colours to cover up the misery of the narrative. He therefore replaces them with something that would seem 'friendly' and eye catching.
Who are you?
For Grayson Perry's Channel 4 documentary 'Who are You' aired in October 2014, he wanted to focus on the identities of individuals living in Britain. 'Who are you' was also the name of his exhibition which was displayed at the National Portrait Gallery, which saw Perry create ceramics, sculptures, paintings and tapestries that channelled the themes of religion, sexuality, gender and politics within the modern day society.
Comfort Blanket, 2014
Perry described the opening piece of his 'Who are You?' exhibition as "a portrait of Britain to wrap yourself up in, a giant banknote, things we love, and love to hate".
'The Ashford Hijab'
The 'Ashford Hijab' which was displayed at the National Portrait Gallery alongside Perry's other pieces, illustrated the story of Kayleigh Khosravi, a young mother who converted to the Muslim faith, as an escape mechanism from the pressures of consumerism and popular culture in today's society. She wears her hijab proudly and as a signifier of her new found identity.
'The Earl of Essex' (a portrait of Rylan Clark), 2014
During his documentary, Perry studied the identity of the X Factor contestant and winner Celebrity Big Brother, Rylan Clark who has also been known to struggle with his sexuality and the division between his on stage character 'Rylan' and his reality 'Ross'. The use of Rylan's identity fit Perry's concept extremely well as this struggle is something that many can relate to and it also showed the approval of cultural diversity and freedom in 21st century society compared to previous traditional eras.
Perry's piece for the exhibition took inspiration from the portraiture style of the 17th century artist Nicholas Hilliard, who had famously painted members of monarchy such as Elizabeth I and Queen Mary of Scots. Although Rylan Clark is not part of the aristocracy, Perry wanted to visually portray Clark as an 'Earl of Essex' in reference to the public figure he has become in his hometown of Essex due to his achievements within reality television.
Robert Dudley, 1st Earl of Leicester by Nicholas Hilliard 1576
'The Huhne Vase'
Grayson Perry also decided to study the identity of former cabinet minister, Chris Huhne, a white middle class male, who made controversial headlines for committing acts of adultery and perverting the course of justice over a speeding ticket. Perry portrayed Huhne's identity in the form of a broken ceramic vase which was covered in personalised number plates, cartoon faces of Huhne himself and penises to symbolise his provocative and criminal acts. However, the broken vase, smashed by Perry, had been piece back together and sealed with painted gold leaf, ready to be displayed in the National Portrait Gallery among other figures of political backgrounds. Although the cracks in the vase connoted the vulnerability of Huhne's character, by piecing the vase back together, this could possibly symbolise Huhne's intentions to regain the respected identity he once had among a tribe of elite individuals before his public downfall. However, this regained identity would be one that was less sinful, and subservient, especially in regards to the law.
'I am a Man'
As for the sculpture titled 'I am a Man', Perry has represented Alex White, a once female, now male transvestite, as a heroic figure. However, there is an extreme resemblance between the statue of White and the childhood fairy-tale character, Peter Pan. This similarity and depiction of the fictional character could possibly illustrate a portrayal White as a 'lost boy' during his younger days, while he was still trying to find his identity, before full transitioning to a man. Furthermore, Perry has placed a horn in the hand of White which acts as a symbolic proclamation of his new affirmed masculine identification.
The Vanity of Small Differences
"The tapestries tell the story of class mobility,"- Grayson Perry
For his 2013 exhibition 'The Vanity of Small Differences, Perry wanted to create art work that focused on a narrative revolving around the social class system with the intention of portraying the effects that the current hierarchy and political structure can have on individuals in terms of their identity, aesthetic tastes and their behaviour. Therefore, Perry travelled to Sunderland, Tunbridge Wells and The Cotswolds to use the cities as backdrops for his artwork, inspired by Hogarth’s 1733 'A Rake’s Progress' but with his own altered contemporary twist on the narrative that was appropriate to Britain in the 21st century. The exhibition was based upon the life of 'Tim Rakewell' (Hogarth's original character was called Tom Rakewell) and follows the journey of his acquired upper class status and wealth through to the moment he loses everything. (Possibly due to his careless disposable spending and the corruption of his excessive lavish lifestyle.) Perry however, visually depicts Rakewell as various figures of importance throughout and uses inspiration from biblical and cultural paintings to do so.
Not only did I find this exhibition interesting because it studied the lives of different demographic situations and social groups, but Perry also used Sunderland, my home town, as the destination for his tapestry 'The Agony of the Car Park'. Therefore, it was interesting to see how he portrayed something so personal to myself as I could familiarise with it and how he intended to depict the area through a cartoon artistic effect and use of bold flamboyant colours on the surface of a tapestries. A fabrication that arguably signifies Perry's work ethic, aside from his use of ceramic vases that are usually covered in handwriting, text, graphics and illustrations to depict challenging themes and messages. Although the exhibition took place just over two years ago at the Sunderland Museum & Winter Gardens and Perry has moved onto new projects to test the current system, the exhibition is still extremely memorable to me because Perry used historical and religious contextual references throughout, but in a diverse way, to illustrate a visual narratives surrounding the interior and consumer lives of people in society today. He also did this to compare classic and modern art. Therefore the exhibition has since, stood out as one of my favourite sets of artwork in general but it also can be seen to communicate a sense of morality towards the end of the exhibition.
The Adoration of the Cage Fighters
(First of the six tapestries following Tim Rakewell's life)
The Adoration of the Cage Fighters, 2012
Grayson Perry's synopsis about 'The Adoration of the Cage Fighters': The scene is Tim’s great-grandmother’s front room. The infant Tim reaches for his mother’s smartphone – his rival for her attention. She is dressed up, ready for a night out with her four friends, who have perhaps already been on ‘the pre-lash’. Two ‘Mixed Martial Arts’ enthusiasts present icons of tribal identity to the infant: a Sunderland AFC football shirt and a miner’s lamp. In the manner of early Christian painting, Tim appears a second time in the work: on the stairs, as a four-year-old, facing another evening alone in front of a screen.
This piece by Perry also has religious references and visual similarities to Andrea Mantegna’s 'The Adoration of the Shepherds' create in 1450.
The Agony in the Car Park
Agony in the Car Park 2012
Grayson Perry's synopsis about the 'Agony in the Car Park':
This image is a distant relative of Giovanni Bellini’s 'The Agony in the Garden' (c 1465). The scene is a hill outside Sunderland – in the distance is the Stadium of Light. The central figure, Tim’s stepfather, a club singer, hints at Matthias Grunewald’s Isenheim Altarpiece. A child-like shipyard crane stands in for the crucifix, with Tim’s mother as Mary – once again in the throes of an earthly passion. Tim, in grammar school uniform, blocks his ears, squirming in embarrassment. A computer magazine sticks out of his bag, betraying his early enthusiasm for software. To the left, a younger Tim plays happily with his step-grandfather outside his pigeon cree on the allotments. To the right, young men with their customised cars gather in the car park of ‘Heppie’s’ social club. Mrs T and the call centre manager await a new recruit into the middle class.
Giovanni Bellini, The Agony in the Garden, created in 1465
Matthias Grunewald, Isenheim Altarpiece, 1512–1516
The Expulsion from Number 8 Eden Close
The Expulsion from Number 8 Eden Close 2012
Grayson Perry's synopsis about 'The Expulsion from Number 8 Eden Close':
Tim is at university studying computer science, and is going steady with a nice girl from Tunbridge Wells. To the left, we see Tim’s mother and stepfather, who now live on a private development and own a luxury car. She hoovers the AstroTurf lawn, he returns from a game of golf. There has been an argument and Tim and his girlfriend are leaving. They pass through a rainbow, while Jamie Oliver, the god of social mobility, looks down. They are guilty of a sin, just like Adam and Eve in Masaccio’s The Expulsion from the Garden of Eden (c 1425). To the right, a dinner party is just starting. Tim’s girlfriend’s parents and fellow guests toast the new arrival.
Masaccio’s The Expulsion from the Garden of Eden created in 1425.
The Annunciation of the Virgin Deal
The Annunciation of the Virgin Deal 2012
Grayson Perry's synopsis of 'The Annunciation of the Virgin Deal': Tim is relaxing with his family in the kitchen of his rural (second) home. His business partner (in yellow) has just told him that he is now an extremely wealthy man, as they have sold their software business to Richard Branson. On the table is a still life demonstrating the cultural bounty of his affluent lifestyle. To the left, his parents-in-law read, and his elder child plays on the rug. To the right, Tim dandles his baby while his wife tweets.
This image includes references to three different paintings of the Annunciation – by Carlo Crivelli (the vegetables), Matthias Grunewald (his colleague’s expression) and Robert Campin (the jug of lilies).
Furthermore, similarly to every other piece in the collection, The Annunciation of the Virgin Deal has another reference to a mid millennium painting. However, this reference relates to the themes of wealth and fortune that are depicted in the 15th century painting 'The Amolfini Portrait' by Jan van Eyck in 1434. Adding on, the Matthias Grunewald that Perry relates to in his synopsis is the same painting that inspired 'Agony in the Car Park'.
'The Amolfini Portrait' by Jan van Eyck in 1434
Carlo Crivelli, The Annunciation, created in 1486
Robert Campin, The Merode Altarpiece, created in 1425
The Upper Class at Bay
The Upper Class at Bay, 2012
Grayson Perry's synopsis of' The Upper Class at Bay': Tim Rakewell and his wife are now in their late forties and their children are grown. They stroll, like Mr and Mrs Andrews in Thomas Gainsborough’s famous portrait of the landed gentry (c 1750), in the grounds of their mansion in the Cotswolds. They are new money; they can never become upper-class in their lifetime. In the light of the sunset, they watch the old aristocratic stag with its tattered tweed hide being hunted down by the dogs of tax, social change, upkeep and fuel bills. The old landowning breed is dying out. Tim has his own problems; as a ‘fat cat’ he has attracted the ire of an ‘Occupy’-style protest movement, who camp outside his house. The protester silhouetted between the stag’s antlers refers to paintings of the vision of Saint Hubert, who converted from the leisured life of a nobleman on seeing a vision of a crucifix above the head of a stag.
Mr and Mrs Andrew by Thomas Gainsborough created in 1750
#Lamentation
#Lamentation 2012
Grayson Perry's synopsis of '#Lamentation': The scene is the aftermath of a car accident at an intersection near a retail park. Tim lies dead in the arms of a stranger. His glamorous second wife stands stunned and bloodstained amidst the wreckage of his Ferrari. To the right, paramedics prepare to remove his body. To the left, police and firemen record and clear the crash scene. Onlookers take photos with their camera phones to upload to the internet. His dog lays dead. The contents of his wife’s expensive handbag spill out over a copy of Hello magazine that features her and Tim on the cover.
#Lamentation is inspired by Rogier van der Weyden’s 'Lamentation' and especially the motif of the skull in the painting. However, Perry has replaced the skull with the modern day feature of a smartphone which refers back to the first tapestry, 'The Adoration of the Cage Fighters' when Tim reaches out to steal his mothers phone out of her hand. #Lamentation also reflects the death of Tom Rakewell in the painting 'The Madhouse', the final instalment of Hogarth's 'The Rake Progress'.
William Hogarth, ‘The Madhouse’ from ‘A Rake’s Progress’ created in 1733
http://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perry/articles/all/the-vanity-of-small-differences
Grayson Perry at the Victoria Miro. 2012. The Vanity of Small Differences. [ONLINE] Available at: http://www.victoria-miro.com/exhibitions/429/. [Accessed 24 December 15].
Books are my Bag
This year, Perry has also designed a 2015 exclusive tote bag for the independent book campaign 'Books are my Bag' which celebrates the vital role of bookshops, authors and publishers in the world of fictional and non-fictional storytelling. The campaign intends to encourage more people to read by communicating a message about the enjoyment of books. The book campaign also advertises quirky little unknown bookshops for people to visit.
I was lucky enough to receive one of these as a Christmas present off my sister who works in book publishing as there were only 4,000 versions of the limited edition bag sold across the UK. I have included a couple of images below of the design of this year's bag, which noticeably resembles Perry's iconic comic style of art but unlike his other work, the bag is monochrome with a pinch of magenta pink in areas.
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