Grayson Perry at Serpentine Gallery

Great day out at "The Most Popular Art Exhibition Ever". There was an extensive selection of Grayson Perry's recent works.  I was particularly taken with how Perry uses very traditional media (pottery, tapestry and metal) and forms in a contemporary way.  He thoroughly researches a contemporary issue (like Brexit) and creates a narrative that can be read by careful observation of the tapestry/pot/woodcut.  I hope that my samplers can be read the same way - a very traditional form, but with a contemporary message.

I spent some time looking at his artworks, and drew a lot of his logos.  On the Brexit tapestry, he had omitted the Crown (indicating he is a princess), and just had the W and Anchor.

Perry makes some interesting artwork, for example, showing how sensitive he is, as an artist - making the comment that he could quote verbatim decades old reviews - both good and bad.  Then he uses these emotional feelings to create a 'puff pot' which immortalise the positive reviews.

Grayson Perry, Puff Pot, Courtesy of Serpentine Gallery

The Battle of Britain tapestry rewarded lengthy observation.  It had the Brexiteers represented on the left behind a railway line, with graffitied railway cottages; no-man's land in the middle with a gathering storm cloud and a rainbow; and a motorway on the right with trucks with Eastern European names, making their way to the coast.  There was a burned out car, creating a plume of smoke, obscuring the vision of drivers leaving/returning to Britain. There were homeless/migrant people camped under the motorway; and a murmuration of starlings (or flock of migrants) in the sky.  Perry as artist sits on his bike in the foreground, observing it all.

Grayson Perry, Battle of Britain tapestry, courtesy of CultureWhisper

Closer inspection also showed patchwork patterns in the weave, and references to classical artworks.  This tapestry was digitally woven - another linking of the traditional form and modern execution.  

Brilliant show.  So glad I went.  Very clever analysis of contemporary issues, illustrated with the observational power of the artist.  Not always comfortable - in fact often uncomfortable - but all the better for it.  

And I bought the catalogue!