A Grayson Perry is in Wolves
Updated: Mar 4
Grayson Perry is an OG, this really felt like a full circle moment. Those of us that did GCSE Art will surely remember doing a page on him in our sketchbooks. But seeing his work hung so loud and proud on a gallery wall was something else. Random thought, I'm sure it's safe to say he's like that as a person as well, so that's fitting, but back to the tapestry. It's easy to get lost in the chaos of it all, to lose yourself within the details encapsulated in the threads. I found it was like looking into an overly crowded fish tank, scouring the scenes to see what was going on within.
Some artworks ask to be admired but this one asks to be watched, analysed. From observation it comes to mind that this would scratch the itch of a nosey neighbour, maybe the old ladies that peer through the blinds when a car pulls up too close, allowing prying and excessively inquisitive minds to gain satisfaction of getting to discover the antics woven into it. Who's doing what? Who's where? Whats happening?
It's easy to get distracted from the political themes surrounding the work, from the delectable array of colours (especially due to how they complement each other so beautifully) to all the different elements like the characters, the food and the décor. Although the plot is entirely fictional, it represents a very real subject matter.
The Annunciation of the Virgin Deal is the fourth of six tapestries, a still from the life of a fictional protagonist, Tim Rakewell. As a whole the tapestries document his journey from a working class man from Sunderland to becoming a wealthy computer software millionaire. This one in-particular depicts his peak of financial success and aims to make you realise what and who you surround yourself with, highlighting how our taste stems from the performative nature of who we want to be or those chasing the dream of climbing the social ladder. The work mocks our subconscious need for validation from brands that signify to ourselves and our peers that we are 'successful'. He wants the viewer to laugh at themselves, mocking us into realisation. Seeing the ridiculousness of social posturing.
The exhibition featured another piece titled, Hold Your Beliefs Lightly, which felt teeny tiny in comparison to the big ol' bitch to the left, still impressive though I should add.
From first glance I was curious to know why one of the letters within the stitched in title was left blank, I reckon it's to pull away from the idea of perfectionism within creating, not giving the viewer the satisfaction of a fully filled in worded statement, get over it, deal with it 'lightly', intentionally incomplete but complete because it was intentionally incomplete, right? I think the overarching message is to encourage a different way of thinking, yes towards ideology and religion, which is obvious to see through the various visual indicators across the artwork, but also towards life generally, the silliness of the yellow monster with their willy exposed could just be taking the piss out of everyone who isn't chill, it's there to shift audiences to have more of a playful and silly approach to life, like I guess Grayson Perry does as he decided to include a yellow monster with their willy out.
It's a reminder to 'hold' onto these beliefs and ways of existence 'lightly', instead of a stubborn and heavy certainty, but what I do know for certain is you should take yourself to Wolverhampton Art Gallery, go and enjoy seeing something silly, you've got until the 12th April. Until next time Freddos, keep it 'light'.
