•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Grayson Perry EXHIBITED AT THE SAATCHI GALLERY

Saint Claire 37 wanks accross Northern Spain
Grayson Perry
Saint Claire 37 wanks accross Northern Spain

2003

Earthenware

84 x 55 x 55 cm
Perry’s urns are rendered with an incomprehensible master-craft: their surfaces richly textured from designs marked into the clay, followed by intricately complicated glazing and photo-transfer techniques. Perry makes ceramic pots, hand-stitched quilts, and outrageous dress designs, creating a cosmopolitan folk-art.
Punters in the Snow
Grayson Perry
Punters in the Snow

1999



40 x 25 x 25 cm
“We’re only here once and I want to get as much out of it possible. And as an artist, my job is to be as much "me" as possible.”
Barbaric Splendour
Grayson Perry
Barbaric Splendour

2003

Glazed ceramic

67 x 35 cm
His form and content is always incongruous: classic Greecian-like urns bearing friezes of car-wrecks, cell-phones, supermodels, as well as more dark and literary scenes often incorporating auto-biographical references.
We Are What We Buy
Grayson Perry
We Are What We Buy

2000



50 x 22x 22 cm
Golden Ghosts
Grayson Perry
Golden Ghosts

2000

Earthenware

65 x 39 x 39 cm
Unhappy expressions on the little girls’ faces in Golden Ghosts contrast sharply with the idyllic country cottages stenciled in the background. Perry often uses found images to create a mood or a tension – the exceptionally sad image of the seated girl is that of a child affected by the Chernobyl Nuclear Power Station disaster. This evocative work hints at a familiarity with psychotherapy, made at a time when Perry was coming to terms with his own unhappy past. Perry’s transvestite alter ego, Claire, appears outlined in gold as the ghost in the title, dressed in the elaborate embroidered Coming Out Dress, made for a performance in 2000.
Cuddly Toys Caught on Barbed Wire
Grayson Perry
Cuddly Toys Caught on Barbed Wire

2001

Earthenware

55 x 38 x 38 cm
Perry reveals ‘One of the reasons I dress up as a woman is my low self-esteem, to go with the image of women being seen as second class…It is like pottery: that’s seen as a second-class thing too’.
Spirituality my Arse
Grayson Perry
Spirituality my Arse

1997



58 x 33 x 33 cm
These highly decorative objects, often covered with layers of lustre, gold leaf and sugary kitsch transfers are, by the artist´s own admission, ´perversion to match the curtains´.
Over the Rainbow
Grayson Perry
Over the Rainbow

2001

Earthenware

53 x 41 cm
People say, ‘why do you need to put sex, violence or politics or some kind of social commentary into my work?’ Without it, it would be pottery. I think that crude melding of those two parts is what makes my work.”
We've Found the Body of Your Child
Grayson Perry
We've Found the Body of Your Child

2000

Earthenware

49 x 30 x 30 cm
This has the preciousness of a well-travelled Russian antique. Glazed in golds, silvers and whites, Perry’s urn tells a Gothic tale of a child’s death in a gloomy small town. The image is timeless: it could be yesterday or eighty years ago; but almost certainly it has to be Eastern European – nowhere else could such horrific grief be met with such fairy-tale romanticism.
Whoring Grayson Perry Style
Grayson Perry
Whoring Grayson Perry Style

1997



85 x 36 x 36 cm
Grayson Perry’s urns are rendered with an incomprehensible master-craft: their surfaces richly textured from designs marked into the clay, followed by intricately complicated glazing and photo-transfer techniques.
Defenders of Childhood
Grayson Perry
Defenders of Childhood

2000

Earthenware

46 x 21 x 21 cm
Winner of the 2003 Turner Prize, British artist Grayson Perry creates seductively beautiful pots that convey challenging themes; at the heart of his practice is a passionate desire to comment on deep flaws within society. Perry uses pots as narrative and figurative media, a round, curved surface for a bizarre or bitter story.
Nostalgia for the Bad Times
Grayson Perry
Nostalgia for the Bad Times

1999



43 x 28 x 28 cm
"With ceramics, the purely decorative is its default position. But if you did a purely decorative painting, it’s still a painting but it’s within a context of contemporary art."
Transvestite Brides of Christ
Grayson Perry
Transvestite Brides of Christ

2000

Earthenware

39 x 26 x 26 cm
These highly decorative objects, often covered with layers of lustre, gold leaf and sugary kitsch transfers are, by the artist´s own admission, ´perversion to match the curtains´.
Triumph of Innocence
Grayson Perry
Triumph of Innocence

2000

Earthenware

70 x 23 x 23 cm
Perry’s urns are rendered with an incomprehensible master-craft: their surfaces richly textured from designs marked into the clay, followed by intricately complicated glazing and photo-transfer techniques.

These highly decorative objects, often covered with layers of lustre, gold leaf and sugary kitsch transfers are, by the artist´s own admission, ´perversion to match the curtains´.
Troubled

Troubled

Grayson Perry
Troubled

2000



42 x 25 x 25 cm
“I’m not an innovator, ceramic-wise. I use very traditional forms, techniques and it’s merely the carrier of the message. That’s how I want to keep it. But I’m always aware that it’s a pot. It’s not like I take it for granted. I’m always aware that I’m working on a vase and what that means”
I Want to be and Artist
Grayson Perry
I Want to be and Artist

1996

Earthenware

66 x 42 x 42 cm
A master of the incongruous juxtaposition, Grayson Perry scrawls savage satirical messages alongside sentiments of nostalgia for lost innocence.
Moonlit Wankers
Grayson Perry
Moonlit Wankers

2001



66 x 35 x 35 cm
“If I did something purely decorative, and I’ve approached that line a few times where I’ve looked at pieces and thought, ‘That’s pretty’, but it’s like potatoes without salt. I can’t stomach it.”
Two Children Born on the Same Day
Grayson Perry
Two Children Born on the Same Day

1996

Earthenware

42 x 30 x 30 cm
Grayson Perry often uses found images to create a mood or a tension
Saint, Satin, Satan
Grayson Perry
Saint, Satin, Satan

1999



45 x 28 x 28 cm
“In the past I’ve made more raw work that was more blatantly provocative and without so much of a social understanding of what I was doing. I think the fact that it was pottery diffused that.”
Cries of London
Grayson Perry
Cries of London

1996



56 x 26 x 26 cm
For Grayson Perry, this is an expression of an unrecoverable lost innocence. Pastiched with delft images of ladies in waiting, delicate flowers, teddy bears, and embossed tear-drop patterns, Perry creates a hallowed place where unhappy souls exist as golden shadows of the children they never got to be.
Contained Anger
Grayson Perry
Contained Anger





36 x 24 x 24 cm
Inspired by Grayson Perry’s experiences as a transvestite, his ‘little girl’ vases hint at an autobiographical referencing: his penchant for wearing baby doll dresses, and the questions of male-role models and the development of his sexuality in his childhood.
I Hate You, I Hate Myself
Grayson Perry
I Hate You, I Hate Myself

2000



31 x 20 x 20 cm
The pots are covered in a kind of psychic collage replete with stark, expressionistic drawings, hand written text, stencilled lettering and photographs.
Driven Man
Grayson Perry
Driven Man

2000



39 x 31 x 31 cm
Grayson Perry uses pots as narrative and figurative media, a round, curved surface for a bizarre or bitter story.
Oiks, Tarts, Wierdoes and Contemporary Art
Grayson Perry
Oiks, Tarts, Wierdoes and Contemporary Art

1996



70 x 38 x 38 cm
“I’ve never done anything that was consciously just purely decorative. There always has to be a snag in it somewhere. It’s almost the defining characteristic of my work.”
Language of Cars
Grayson Perry
Language of Cars

1999



39 x 28 x 28 cm
His work incorporates art history and the art world, consumer culture, scenarios of kinky sex and allusions to violence as well as images of himself, his family and his transvestite alter ego Claire.
Posh Bastards House
Grayson Perry
Posh Bastards House

1999



55 x 23 x 23 cm
"I'm not an innovator, ceramic-wise. I use very traditional forms, techniques and it's merely the carrier of the message. That's how I want to keep it. But I'm always aware that it's a pot. It's not like I take it for granted. I'm always aware that I'm working on a vase and what that means"
Poverty
Grayson Perry
Poverty

2000



87 x 27 x 27 cm
“The art world is a funny little place. It is a weird foreign country where they speak a funny language and if you want to operate in that land you have to speak that language - which is why 'craft' people don't get it sometimes.”
Discreetly Branded
Grayson Perry
Discreetly Branded

1999



57 x 28 x 28 cm
The forms of the pots may be traditional, but Grayson Perry resolutely distances himself from the typical cannon of artistic ceramics.
Boring Cool People
Grayson Perry
Boring Cool People





Whilst depicting scenes of child abuse, bondage and sadomasochism or a gathering of society´s finest ´boring cool people´, the works remain elegant and lavish. These highly decorative objects, often covered with layers of lustre, gold leaf and sugary kitsch transfers are, by the artist´s own admission, ´perversion to match the curtains´.
All Men are Bastards

All Men are Bastards

Grayson Perry
All Men are Bastards

2001



45 x 27 x 27 cm
Melding handicraft and consumer culture, his objects are luxury one-of-a-kinds with a Rodeo Drive chic.

Grayson Perry's BIOGRAPHY

Born in Chelmsford

Braintree College of Further Education, Art Foundation Course
Portsmouth Polytechnic, Fine Art BA

Lives and works in London


SOLO EXHIBITIONS



2004
Victoria Miro Gallery, London

Collection Intervention, Tate St. Ives, St. Ives

2002
Guerilla Tactics, Barbican Art Gallery, London,

Guerilla Tactics, Stedelijk Museum, Amsterdam

2000
Sensation, Laurent Delaye Gallery,

1996-7
Anthony d'Offay Gallery, London

1994
Anthony d'Offay Gallery, London

Clara Scremini Gallery, Paris

1991-2
David Gill Gallery, London

1991
Garth Clark Gallery, New York

1990
Birch & Conran, London

1988
Birch & Conran, London

1987
Birch & Conran, London

1986
The Minories, Colchester, Essex

1985
James Birch Gallery, London

1984
James Birch Gallery, London


GROUP EXHIBITIONS



2004
A Secret History of Clay from Gauguin to Gormley, Tate Liverpool

2003
The Turner Prize, Tate Britain, London

For the Record: Drawing Contemporary Life, Vancouver Art Gallery, Vancouver

Thatcher, The Blue Gallery , London

2001-03
The East Wing Collection, Courtauld Institute, London

2001
Carts and Rafts, Camberwell College, London

2001-02
Sense of Occasion, MAC, Birmingham

2001
New Labour, Saatchi Gallery, London
Sense of Occasion, Birmingham and other centres around UK
La Altra Brittania Tecla Sala, Barcelona
Self Portraya, Group show at Laurent Delaye Gallery, London

2000
Protest and Survive, Whitechapel Gallery, London
British Art Show 5 curated by the Hayward Gallery touring to Edinburgh (Scottish
National Gallery of Modern Art, Royal Botanical Garden, City Art Centre, Talbot Rice
Art Gallery, Stills Gallery, Fruit Market Gallery), Southampton (Southampton City Art
Gallery, John Hansard Gallery, Millais Gallery, Southampton Institute), Cardiff
(National Museum of Wales, Centre for Visual Arts, Chapter), Birmingham
(Birmingham Museum and Art Gallery, Ikon Gallery)

1999
Plate Show, Collins Gallery, Glasgow
Contained Narrative, Garth Clark Gallery, New York
Hydra Foundation, Greece
541 Vases, Pots, Sculptures and Services, Stedelijk Museum, Amsterdam
Decadence, Crafts Council, London

1998-99
Over the Top, Ikon Gallery, Birmingham, touring show

1998
Glazed Expressions, Orleans House

1997-98
Craft, Richard Salmon Gallery, London, Kettles Yard, Cambridge

1997-90
Objects of Our Time, Crafts Council, London, Edinburgh, Manchester, Belfast, Cardiff,
American Crafts Museum, New York

1996-97
Hot Off The Press, Tullie House, Carlisle, Glasgow, Norwich, Croydon Clock Tower,
Crafts Council, London

1996
Indigo Gallery, Boca Raton, Florida
Whitechapel Open, Whitechapel Gallery, London
Philippe Rizzo Gallery, Paris

1993-95
The Raw and the Cooked, Barbican Art Gallery, London and touring to Museum of
Modern Art, Oxford, Glynn Vivian Art Gallery Swansea, Shigarake Ceramic Cultural
Park, Japan, Museum of Dunkirk

1992
Fine Cannibals, Oldham Art Gallery and touring to University of Lancaster, Stockport
Art Gallery, Warrington Museum and Art Gallery

1991-92
Essex Ware, Chelmsford and tour to Konigsburg, Germany and Amiens, France

1990
Words and Volume, Garth Clark Gallery, New York

1989
Nishi Azabu Wall, Tokyo (commission by Nigel Coates)

1988
Read Stremmel Gallery, San Antonio

1986
Mandelzoon, Rome

1985
Gallozi e La Placa, New York

1983
Ian Birksted Gallery, London

1981-82
Young Contemporaries, ICA, London