If there were any slim pickings from that grim period during the pandemic when lock down was a very real and isolating experience, when ‘zoom’ became a household word, and when Netflix sales went through the roof – it was, for me, the discovery of a (now, quite well known) TV programme entitled, ‘Grayson’s Art Club’ on Channel 4. My sometimes-aged intolerance of anything or anyone that seems ‘faddish’ would – I ashamedly confess - have urged me to pass this by, opting instead for something that has a good character driven plot, or a proven record of longevity. But these weren’t normal times. They were times when everyone was looking for some semblance of comfort in their own solace … some more than others.
All I knew of Grayson Perry at that point was gleaned from seeing him being presented with the Turner Prize in 2003 for his ceramic pots, all of which, the judges said represented his ‘uncompromising engagement with personal and social concerns.’ Perry received his award clothed as his alter ego, Claire, who wore a blue and white Little Bo-Peep complete with shepherd’s crook, bedecked in ribbons.
If we take ourselves right back to 2003 when Claire received that award, this was unusual … and probably more than unusual to those, like me, who fully admit to being well outside of the periphery of the art world and the lack of artistic understanding that goes with that. Perhaps this particular ‘lack’ answers my question as to why, when mindlessly channel hopping during that search to be entertained during our imposed isolation, I now make the guilty admission that I was prepared to dismiss Perry and move on - despite the knowledge of his admirable approach to social concerns. But something in me decided to give it a go.
Two years after Perry received his prestigious 2003 award, whilst on a professional development study trip with teaching colleagues to Manhattan, I visited a school where a boy proudly wore a skirt as part of his uniform. Still not fully au fait with the existence of societal gender construction, I was certain that – as per my thoughts with regard to Grayson Perry - this would never really catch on. Even the thought of it being something that may or may not ‘catch on’ is littered with ignorance. The school supported his choice.
Fast forward twenty years and the wider world now attempts to be a very different and more accepting and understanding place, where gender construction can be dismantled with far fewer prejudices than there once were. Teachers and other school staff are often the first to see the growth in young people, to see their personalities develop and to watch gradual changes unfurling – especially in secondary schools where hormonal swings and peer pressure creates brave souls who crave the space and compassion to facilitate this growth. To work in this privileged position and to observe these changes is also to be at the forefront of societal change and to recognise the clues as to society’s direction of travel, often before others do. It also bears witness to the heartache, in all its manifestations, that students endure to establish their character and to live their own authentic life. And we want them to do this because we know that to find your groove in life is to find your purpose, is to find your light, is to find your contribution to life.
So why, when I saw Grayson Perry all those years ago, did I lack so much compassion and instead baulk at the idea of a man wearing an outfit that I’d only seen as an illustration in a child’s nursery rhyme book. Searching for an answer to this I came across the wonderful Jen Hitze who said,
To be aware of this illusion of control is important in terms of how we live our life and relate to others. Who was I to try to add to the rebuttal of someone who was far more than just an outfit?
To find, years later, that I’d be watching a TV programme created, hosted, and delivered by Grayson Perry himself, was something I had never imagined because I hadn’t taken the time to loosen my thoughts around the familiar and to look beyond my prejudice around Perry’s alter ego. In fact, I was so brimming over with prejudice that it stopped me from being curious and worse, it stopped me from having the acceptance that helps us to drop that illusion of control.
In the end, it turned out that ‘Grayson’s Art Club’ was the most compassionate, inclusive, gentle, accepting, and celebratory programme during, and probably since, those dark covid times. It wasn’t based on indulgence or arguments, or lies or deceit, but was based on the notion that we are all worthy, we all have our own unique skills and talents, and that we are all part of a wider community - in all our different ways, shapes, and forms – and have an important contribution to make to that society. Not only that, but it became clear to me that Perry is an artistic genius whose art pervades all of his life … but he also wants us to be part of that. He’s thoughtful and inclusive. That’s what real life should be about. I fall short of this for definite - and when that shortfall is reciprocated, it hurts. But recognition of this is a good thing.
Fast forward, again, to 2023 and, as with so many of the best things in my life, I stumbled unexpectedly across Grayson Perry again. This time it was via an exhibition of his art. Rushing into Edinburgh’s National Gallery, admittedly mainly to shelter from a very dour, rainy Scottish day, I was astounded at the prolificacy of what I saw before me: a magnificent and varied array of all sorts of meaningful pieces of art – every item making me curiouser and curiouser.
But the piece that caught my attention more than anything else was a large etching of a map entitled, ‘Our Town.’
This was Perry’s explanation of his work:
Perry had very cleverly brought attention to our inner, and outer, worlds and created a physical map of them. Laid out as a bird’s eye view of a society hooked on social media, it becomes quite a challenging way to see what we have become as a society. As he said,
‘it is a place where opinions and feelings are formed that perhaps are inappropriate for real life.’
As I read about ‘Our Town,’ I wondered if we are indeed losing our sense of what’s real and what isn’t?
Communities are the backbone of bringing together not only a society but also our disparate selves, however in an effort to come together as online communities, and with the helping hand of the social media that Perry refers to in his explanation, we have created, even unwittingly promoted ourselves as, unique products for advertisers, statisticians and, inevitably and very sadly in a world where social media reigns … the keyboard warriors. By highlighting our society in the way that he does, Perry challenges us to think, to reflect on our values and to learn. And if life isn’t about that, what then, is it about? Even experts in medicine, law, education, engineering, or other bodies of people integral to our daily life would not add anything valuable to society if they did not use their knowledge and skills to develop their already incredible thinking and ideas of possibilities for all our futures. But we all have our part to play, no matter how lofty our ideas are.
In December’s substack, I mentioned unleashing our inner self or selves – unlocking the chains to create our own better life. But of course, improving our life means very little if it doesn’t then positively affect the lives of those around us. Keeping that life to ourselves, not touching anyone with generosity, skills, sense of humour, thoughtfulness … even just the daily chit chat of life which can create connections, shouldn’t be dismissed as unimportant.
Someone once suggested to me that I live my life by knowing what I don’t want rather than what I do want. And they were right - although I think it was meant to be a criticism! It doesn’t exactly fit with the growth in the current target obsessed workplace approach to personal development so I guess it isn’t a popular approach. Eliminating what you don’t want in life, and - in reference to Perry’s ‘town’ - the streets you don’t want to inhabit or the areas you don’t want to visit, is a good way to build signposts in your life for what is the right direction to take and the type of communities to build.
When I first really looked at Perry’s map of ‘Our Town’, I felt slightly unnerved and claustrophobic. I smugly felt as if there wasn’t a place for me in his portrayal of society. But then I realised that I am that society. I contribute to it. I find myself in many of those places and I don’t like it. These places, not meant for real life, have become real life.
But I have, like everyone else, the power to change that, to change the contours of the map, and to change the name and substance of these places.
I try to deny being hooked on social media but it is well on its way to becoming mainstream media and part of everyday modern life which is becoming the norm for me and for everyone else – young and old. And as we all know, at its worst, it creates fear and hatred, sometimes cloaked in anonymity which creates little islands of discrimination and hatred – islands where rough seas abide and their waters stick to our very being, locking in our inner tensions and anxieties … and general ugliness.
When we look at Grayson Perry’s map, we see large swathes of land gathered around a river which contains the pollution of what this increasingly mainstream media has now become: suicidal ideation, binge watching, social constructions and explosions of the most mundane acts ‘going viral’ and stirring up excitement that is so often very difficult to fathom.
Further out in the suburbs, we see the ‘Me, Me, Me’ housing estate and farther afield, the rigidity and uniformity of ‘Little England’ which is quite close to ‘Apathy,’ a barren land – nothing much going on there.
On the western side of this map is ‘Extremis,’ which covers the wider area of ‘Doomscrolling,’ ‘Crybully,’ and ‘Backstory,’ … not forgetting ‘Trauma and Identity.’
To the south is a small area where there is a ‘wellness temple’, a bit of ‘diversity’, and a place where you can ‘follow your dreams’ or visit your ‘bestie’ … a few cliches there but Perry’s tongue, I would say, is firmly in his cheek when the bigger buildings in that area tower over us with an air of self-importance: ‘Reputation Management,’ and a place to ‘Unfriend’ people.
Part of it, however, looks very ‘nice’. There is a small bridge leading us to ‘Sincerity,’ ‘’Joy,’ ‘Vulnerability,’ ‘Enthusiasm’ and ‘Care’ … but it’s a tiny place. There’s not much happening there.
The point is, when we’re confronted by all of these as a physical place, it’s shocking to see what we have become. And each one of us has the choice to contribute to this or to turn away and create new futures.
We have the choice to be sincere, enthusiastic, accepting and compassionate among other things – or to be apathetic, critical, envious and insular. Our thoughts and actions are rarely really locked within their walls but rather they leak out into the wider world – either for the greater good or otherwise.
I ask myself which part of Grayson Perry’s map I could contribute to making a change?When I look inside myself, really look inside myself, I ask the question: where would I like to live and is it a place that has the potential for growth, compassion, and inclusion? And am I brave enough to speak out against so many of today’s self obsessed values, social constructions, and discriminatory attitudes?
We all have the ability to make a town for everyone. And as we pass through this town, we can choose to leave it as a much better place for those that live there in the future. We don’t have to wave banners to do this, although we can and should if we feel that’s what is required, but we can also quietly but determinedly, lead by example with humility and kindness in our thoughts, deeds and actions as we go about our daily lives. All deeds have a landing point somewhere. Let them land gently.
And what of my shameful initial prejudices? They’re a reminder to me that life moves on, and if we sit with our own fixed view, we’ll very quickly be left behind. So, a regular reminder of being open to possibilities, to allow a ‘live and let live’ approach, and to relinquish that illusion of power in the process, isn’t such a bad thing. After all, this isn’t ‘my’ town or ‘your’ town. It’s ‘our’ town!
Thought provoking for me in the respect that I wish I lived ‘somewhere’ else (a town before social media when life was less complicated and competitive). I’ll give GP a look. More great written down stuff Hilary.
Brilliant! It took some doing, since I am apparently not allowed to have a channel four account as a non-Brit, but I think I’ve figured out how to watch these! I’m not sure if all the episodes will be available, but I’ve already started the first and am blown away by the concept.
I also deeply appreciate your courageous vulnerability here, and your interpretation of the work. Thank you for this. This is the second time in as many days that I’ve been so moved and inspired by what boils down to an art review on Substack. I’ve been considering basing one of my Everyday Divinas practices on a visit to the Tucson Museum of Art. This seals the deal for me.