The current exhibition by Grayson Perry entitled Who Are You? at the National Portrait Gallery is one that I have already returned to several times and thought about a great deal. Perry has created fourteen pieces of art to reflect the people that he met while making a TV programme for the BBC which shares the exhibition’s title. The works include tapestry, pottery and silk along with other mediums and so there is a completely new experience with each piece. This is also encouraged by placing the objects alongside the gallery’s permanent collections. There is a feeling of being a treasure hunter as you follow Perry’s map to discover each new object, unsure of what it could be made of and how easily it might blend into the background of older paintings featuring established personalities. I am still tempted to drop in again as the layout ensures that it is easy to view a section or two without a huge time commitment.
Each object within the exhibition is accompanied by a small plaque which explained a little about the person who inspired it and why Perry represented them as he did. There are couples, fathers and celebrities involved as well as friends and soldiers. Perry acknowledges that the identities which he is attempting to reproduce in three dimensional forms are multifaceted and can change due to circumstances such as hardship, illness or necessity. The description alongside his pot for Chris Huhne, the disgraced Liberal Democrat MP, explained that Perry had smashed the carefully patterned pot before reassembling it using gold, an ancient Chinese technique. He felt that the recent destructive events had actually improved Huhne’s identity by forcing a greater degree of individuality into his life therefore making it easier to now sympathise with him. The pot was indeed enhanced by the addition of gold and I thought this was an interesting interpretation of such a well known public drama. However, I would be interested to see what Huhne himself has to say about this representation of his life.
This is the first exhibition by Grayson Perry which I have had the chance to go to and I was excited to see his work, due to already knowing so much about his public persona. However, I quickly realised that although his transvestite alter ego Clare has become as famous as him this became immaterial when facing the artwork. It is clear from the exhibition that Perry enjoys producing art through a variety of media and his choice of crazy and exuberant dresses are another method for him to demonstrate how porous the art world can be. He asks in Playing to the Gallery (more on this later) whether it is not possible to be both loved by the public and a serious artist and Perry’s numerous television and public appearances are encouraging these boundaries to blur.
One of my favourite pieces was The Ashford Hijab, a beautiful silk hijab scarf which also depicted the life of a white girl in Ashford who had converted to Islam and was now married with children. Perry explores why the religion might have attracted her and why she chooses to wear the hijab, something which Western cultures often cannot understand. In the scarf she turns her back on the constant demands of a Western consumerist society and instead reaches out for the solidarity and sisterhood provided by other Muslim women. A sense of community emerges which cannot be matched by the culture she has left behind. I found it fascinating that Perry could present such a sympathetic portrayal on what is a very controversial topic and also create a very beautiful, and possibly useful, object.
Grayson Perry’s Playing to the Gallery provides an insider’s viewpoint on the art world to explain the decisions and conversations that happen behind closed doors. Alongside Perry’s engaging prose are also many amusing drawings which refuse to allow the art world to be too serious and question some of the established assumptions. I found it an easy and enjoyable read that nevertheless challenged my automatic construction of what constitutes art. Perry believes that anything can be art but that does not mean that everything should be called art. While I disagree with some of the reasoning he gave behind this I would argue that it is important to be able to keep art distinct so that it can be critiqued differently from objects which are meant for more commonplace uses. I would definitely recommend the book both for those who are well versed in the art world and for complete newcomers as I think it will provide valuable points of view for all in its assessment of how the worth of art is valued and how it is accepted into society.
If you want some further thoughts on the exhibition check out this blog by Emily, who I went with and who gave me Playing to the Gallery, here. Otherwise you have until 15th March 2015 to go to the National Potrait Gallery as many times as you like – it’s free and easy to dip into. http://www.npg.org.uk/whatson/graysonperry/display.php