Despite his huge poularity/notoriety, Grayson Perry is one of my all time favourite artists. I was aware of his celebrity when I was recommended to look at his work back in art school, but I hadn't been expecting his stuff to be so cool. After winning the Turner prize back in 2003, his numerous books, lectures, TV series and high profile shows in London made him one of those mythical 'famous artists'. Guess he's living the dream, or something :P
Perry works with ceramics, textiles, and numerous other ways of working that all can be considered as 'craft' (and therefore 'less than') by many in the art world. This is a deliberate decision which works with his subject matter, sometimes in harmony or sometimes in juxtaposition. For instance, here are some pots. They are crammed with information and drawings, they sometimes have photographs and objects added to their surface. Included an etching, too, so you can see the range of detail/tone in his drawings.
The first chance I had to go see a show of his was 'Tomb of the Unknown Craftsman' at the British Museum. One of the only shows that has stuck in my mind, and that I keep coming back to when thinking about my own stuff. The venue choice seems odd at first, but it was actually very suiting. The show was presented in the way any other history museum would show artifacts and relics: glass cases, dark walls, text boxes with dates etc. But all of Perrys work was shown alongside items he had selected from the museums archives.
At times it was hard to tell on first glance who the work belonged to, or who it was made by. A lot of the historical objects looked very odd in this context, but this seemed to say that the creators were just like us, and that even our own culture and rituals look ridiculous when looked upon objectively in a museum. There was all this interconnected dialogue about class, art vs craft, consumerism, society and sexuality. And it gave me just a whiff of a far off future where Perrys own work had become relics of the past, with historians explaining their own projected truths onto the objects. It was immersive and mesmerising.
As well as ceramic artifacts and illustrated pots, there was a huge tapestry on show.
There is a huge amount of detail in these tapestry works, which he draws on computer software that can then be produced by specialist weavers. Some of the tapestries are absolutely massive. But I love the detail on that scale. Makes me want to play with larger scale textile stuff too. If only I could tapestry! These tapestries were one of my early influences for my lace pieces, too. The second piece there is a portrait of a lady printed onto a beautiful silk hijab.