EXHIBITION - The Serpentine - GRAYSON PERRY 'The Most Popular Art Exhibition Ever'

My concern with Perry's social criticism and rather wholesome awareness of society was strengthened through my level 4 COP studies. Particularly concerned with aesthetic quality and taste. Perry's more recent works have operated in an even more political realm, displayed at The Serpentine Gallery. The title of the show 'The Most Popular Art Exhibition Ever' immediately ignites Perry's satirical approach to the culture of viewing art. This resonates with my intent for research as I am tampering with the fight between media and nature on taste values and awareness of art.

The new work in the show spanned 26 pieces, demonstrating Perry's unchallenged commitment to practice and research.

Perry's tapestry 'Red Carpet' employs some very evocative visual devices through the background imagery of tower blocks, and use of buzz phrases. The geographical deconstruction of society through a map speaks a harsh truth about the climate in which Perry's work operates. The seemingly wealthy object of a wall tapestry serves a poignant purpose against the rather critical narrative. As with most of Perry's work, it explores illustration through craft, creating a narrative tool that is evocative to a universal audience.

'Death of a Working Hero' is also particularly engaging to me as I am concerned with working class heritage. Symbolic of trade union banners, the piece celebrates mining heritage and the Durham brass band marches, whilst evoking a mournful narrative. As a product of Perry's television documentary 'All of Man', it documents a heritage held close to people's ideology of the working man but in a gallery context, it very much seemed more of a celebration of this heritage. In executing this piece within a gallery space, Perry has elevated the subject through craft and environment, using the gallery as a stage for integration and elevation. 

The whole show exhibited some powerful uses of illustration, through visual devices, omissions and symbolism. Perry seemed to have pioneered his macabre drawing style into something more sympathetic and sensitive, only enhancing the political narrative in his work.