Grayson Perry believes museums and galleries have become the pilgrimage sites for of modern global tourism. So I set off, as a pilgrim, to see his exhibition the Tomb of the Unknown Craftsman at the British Museum…
On display is a mixture of objects from both the museum’s collection and Perry’s own oeuvre including recently completed pieces specially commissioned for this exhibition. As a visitor, we explore a range of themes important to Perry’s art, such as craftsmanship, sacred journeys, identity, and cultural conversations. At the end is a cast-iron ship – a memorial to all the anonymous makers, builders and skilled individuals who have crafted the man-made wonders of the world.
Our attention is directed toward a couple of objects which Perry believes capture the spirit of the exhibition. An ancient Mali power figure; magically transformed from base materials into something of raw artistic potency… And the souvenir ‘Hello Kitty’ hand towel from Japan. Its imagery of cartoon characters dressed as traditional 8th century pilgrims manages to combine ancient traditions, modern technology and popular culture all at the same time.
I was particularly drawn to an unusual exhibit which exuded creativity – a modern Romanian ‘Doctor’ mask, looking like a ridiculous, demonic Grouch Marx. All the exhibits had a creative beauty and charm – none more so than the graceful Chinese earthenware figurines, their allure undiminished by the passing of 14,000 years.
Perry’s artistic contributions harmonize and enrich the show. I love his cast iron figures ‘Our Mother’ and ‘Our Father’, looking like refugees from some undetermined worldly period, burdened with the weight of different cultures and conflicts. At the entrance is the AM1 – a motorcycle used to complete a recent European pilgrimage. Painted in bright confectionary tones, it has a folksy whimsy which is instantly appealing. The bike is decorated with illustrative graphics of his childhood teddy, Alan Measles – which, looking at the Alan Measles merchandise being consumed in the exhibition shop – is now so reproduced and recognisable that it has effectively, become a commercial brand. Far from selling out, I’m sure Perry is happy with this and would encourage visitors – as pilgrims – to take away an emblematic keepsake. A great exhibition of Perry’s work and a great window onto the museum’s collections.
