Grayson Perry (1960) is a British potter who embedded in his work images of violence and other disturbing social issues.
Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress. Perry was also the author of a novel, Cycle of Violence.
Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honors. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology”.
In the midst of such attention, Great Britain’s Channel 4 commissioned Perry to make a television documentary about transvestism. The result, Why Men Wear Frocks, aired in 2005. The following year he published an autobiography, Portrait of the Artist as a Young Girl. Perry subsequently made a number of documentaries for Channel 4, becoming as well known as a television personality as an artist. The programs included All in the Best Possible Taste with Grayson Perry (2012), an exploration of class and taste in England, which resulted in The Vanity of Small Differences (2012), a series of six large tapestries; Who Are You? (2014), a study of identity that led to a series of portraits for the National Portrait Gallery, London; Grayson Perry: All Man (2016), a consideration of the changing perceptions of masculinity in Britain; Grayson Perry: Divided Britain (2017), an examination of Brexit (as the British exit from the EU was popularly known); and Rites of Passage (2018), a reconsideration of how Britons celebrate landmark events. In 2020 Perry filmed Grayson Perry’s Big American Road Trip, in which he traveled across the United States by motorcycle, investigating race, class, and identity. That year he also started the TV series Grayson’s Art Club, showcasing art made by everyday Britons during the COVID-19 lockdowns.
Meanwhile, Perry mounted solo exhibitions at major museums on several continents, including the Andy Warhol Museum in Pittsburgh (2006), the 21st Century Museum of Contemporary Art in Kanazawa, Japan (2007), and the MUDAM (Musée d’Art Moderne Grand-Duc Jean) in Luxembourg (2008). For The Walthamstow Tapestry (2009), a textile work that scrolled 49 feet (15 metres) across a gallery wall, Perry arranged a series of detailed images—decoratively inspired by traditional Sumatran batiks but replete with references to contemporary consumer culture—into a sweeping narrative of a human life.
In 2013 Perry was named a Commander of the Order of the British Empire (CBE) and received a knighthood in 2023.
© 2025. All content on this blog is protected by international copyright laws All images are copyrighted © by Grayson Perry or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
 |
| Grayson Perry |
 |
| as Linda |
 |
| My Gods, 1994 |
 |
| I Want to be an Artist, 1996 |
 |
| Oiks, Tarts, Wierdoes and Contemporary Art, 1996 |
 |
| Spirituality my Arse, 1997 |
 |
| Discreetly Branded, 1999 |
 |
| Language of Cars, 1999 |
 |
| Nostalgia for the Bad Times, 1999 |
 |
| Posh Bastards House, 1999 |
 |
| Punters in the Snow, 1999 |
 |
| Driven Man, 2000 |
 |
| Golden Ghosts, 2000 |
 |
| I Hate You, I Hate Myself, 2000 |
 |
| Poverty, 2000 |
 |
| We've Found the Body of Your Child, 2000 |
 |
| All Men are Bastards, 2001 |
 |
| Aspects of Myself, 2001 |
 |
| Cuddly Toys Caught on Barbed Wire, 2001 |
 |
| Over the Rainbow, 2001 |
 |
| Barbaric Splendour, 2003 |
 |
| Saint Claire 37 wanks accross Northern Spain, 2003 |
 |
| Death of a Working Hero, 2016 |
 |
| Matching Pair, 2017 |
 |
| Piggy Bank, 2017 |
 |
| Puff Piece, 2017 |
 |
| The Most Popular Art Exhibition Ever!, 2017 Installation view |
 |
| Searching for Authenticity, 2018 |
 |
| Super Rich Interior Decoration, 2019 Installation view |
 |
| Shopping for Meaning, 2019 |
 |
| 100 Art Plate, 2020 |
,%201999%20detail.jpg)
%202012.jpg)
,%202012.jpg)
