Despite having not previously visited the National Galleries of Scotland and arriving in Edinburgh a little over a week ago, I could not avoid this exhibition. Initially expecting a chronological depiction of Perry’s 40-year career, with a particular emphasis on his iconic ceramic work, curators Patrick Elliott and Torr Scott’s decision to organise the work by theme instantly showed this was a celebration of his entire career.
Whilst one could inevitably not escape the presence of his ceramic vessels as they were displayed centrally in each room, Perry’s expansive collection of work included his early sketchbooks, sculptures, tapestries and woodcuts. The constant of the artist’s ceramic work effectively provided consistency to the rooms filled with bright and intense tapestries and sculptures, which risked being too overwhelming.
What stood out to me was Perry’s overt comment on social class in the second room entitled The Vanity of Small Differences. A series of six bright tapestries lined the walls, telling the story of Tim Rakewell’s journey through the social classes. Perry explained in personal comments that accompanied the tapestries, both written and audio, that he had taken inspiration from William Hogarth’s A Rake’s Progress. His words limit the viewer’s ability to freely and individually interpret the artworks; however, it is valuable in providing a deeper insight into his thoughts and intentions.
A highlight was Expulsion from Number 8 Eden Close, illustrating Tim leaving his lower-middle-class family for his fiancé and her family. One can easily identify emblems of the aspirational middle class: bottles of olive oil, a filled bookcase and William Morris wallpaper. The symbols hold strong similarities with Perry’s life as he also grew up working-class yet has risen through society to be knighted, Sir Grayson Perry CBE.
The Walthamstow Tapestry dominated the next room, depicting life’s journey from birth to death, through a deep red path stretching across the tapestry. The red path encourages the viewer to instinctively walk along and follow it whilst reading the familiar brand names Perry threaded into the background. His intention to elicit emotional reactions to the brands, which he explained in the related annotations, was a success as they evoked personal and nostalgic responses.
The final room on English nationalism was weaker and somewhat confusing, displayed in Edinburgh. It felt very separated from the rest of Perry’s work, and one may question its contribution to the exhibition. However, I highly recommend visiting this exhibition before it closes on 12th November, especially with student tickets being significantly discounted from £19 to £10. It delivers the most extensive collection of Perry’s artwork, showcasing art confronting ongoing social issues with unflinching humour.
Grayson Perry: Smash Hits is at the National Galleries of Scotland, Royal Scottish Academy until 12 November 2023.
“Grayson Perry, The Walthamstow Tapestry” by Ted Potters is marked with Public domain mark 1.0.