When Grayson Perry rolls into town, people sit up and take notice. Dawn Hopley meets the man and takes in his new retrospective, Provincial Punk at Turner Contemporary.
Heaven forbid an artist becomes popular with the masses – when that happens you can guarantee it will be the night of the long knives from elitist art critics. And it would appear that Grayson Perry, currently enjoying a retrospective of his work at Turner Contemporary in Margate, has committed a great sin in the art world and become a national treasure to the supposed detriment of his work. But does he care? Of course not, and neither should we.
Grayson Perry: Provincial Punk, brings together more than 50 works from 1981 until 2014 including ceramics, tapestries, drawings, prints and films. Described as ‘a great chronicler of contemporary life’, Perry is well known for his beautifully crafted artworks that combine autobiographical reference with wry social commentary on themes ranging from class, taste, consumerism and war, to art versus craft.
Admittedly, Perry does appear to be everywhere, from his acclaimed Reith Lecture series, British Museum show and Channel 4 TV series Who are You? to his recently unveiled A House for Essex. But having watched and listened to all of the above and now having met him in person, Grayson Perry is most definitely a man (and woman) of the people, with a deep social awareness and wonderful sense of humour. When asked why he always makes coil pots as opposed to throwing them he replied: “As a transvestite I don’t want big arms”.
Provincial Punk includes previously unseen collaged and watercolour painted sketchbooks from the 1980s which are shown alongside the artist’s rarely seen super-8 films, including Bungalow Depression (1984) and The Poor Girl (1985), set against a backdrop of Thatcherite Britain. A number of recent tapestries are showcased, including The Walthamstow Tapestry (2009), which depicts a journey from birth to death told through consumer brands (a visual masterpiece), alongside etchings including Map of an Englishman (2204) and Print for a Politician (2005).
“All the crafts I employ have a feminine history and I celebrate that, “ Perry told me. “I am always interested in the emotional baggage of a piece and being accessible to people is very important to me.”
Having grown up in the north Essex countryside, Perry was the very essence of a Provincial Punk. “Punk was the first movement I really got involved in,” he explained. “It was hard being a rural punk and there was a detachment of being bohemian. I am now a member of the Royal Academy and the art establishment but am still viewed as uncomfortable.”
And that is possibly how you will feel when viewing some of Perry’s work on display. He doesn’t hold back on graphic imagery but in turn, this is interwoven with delicate patterns and motifs. You will also find yourself standing in front of an exhibit for many minutes, taking in the intricacies, laughing at his clever observations.
With one exhibition space filled entirely with Perry’s pots, for sheer scale and breathtaking appeal the space holding his famous Walthamstow Tapestry must not be missed. Complete with a suburban headscarved Madonna clutching her Gucci bag and stitched with brand names, this powerful piece is the epitomy of all things Perry – religion, class, consumerism.
This is not a perfect exhibition but it is a good one. And when you do visit, please make up your own mind!
Grayson Perry: Provincial Punk, is on at Turner Contemporary, Margate until September 13. Free Admission. Turnercontemporary.org