An Artist’s Exploration of an Outsider Alter-Ego

Grayson Perry: Delusions of Grandeur

The Wallace Collection in London, known for its extensive Rococo art series, becomes the stage for a unique portrayal by contemporary artist Grayson Perry. In his solo exhibition, Perry challenges conventions with works like “Fascist Swing” (2024), a tapestry twisting Fragonard’s classic “The Swing” into a haunting vision. By embodying Shirley Smith, Perry’s alter ego, he delves into narratives of gender, class, and mental health, offering a reflection on both the historical art in the collection and his thematic interest.

Perry’s exhibition blurs lines between reality and fiction, intricately weaving narratives of historical outsider artists like Aloïse Corbaz and Madge Gill into a fictionalized story of mental disintegration. The audio guide, split between Perry and Smith’s perspectives, invites audiences into an immersive experience. However, it risks devolving into caricature, particularly in its portrayal of working-class identity.

The exhibition pieces, such as “Hospital Queen” and “A Tree in a Landscape,” play into the tension between mental health’s raw realities and Perry’s often flippant expression. There’s a noted contrast between facts and Perry’s portrayal, raising questions about the responsibilities of contemporary artists addressing sensitive subjects while balancing sincerity and engagement.

Additionally, references to the Luba culture in “Man of Stories” suggest a more intricate layer of global narratives interwoven into local identities, though further clarity on the influences here may enrich understanding. Perry’s continued exploration of class and gender in British society finds a keen audience, but the exhibition falls short of providing nuanced engagement on some complex issues.

“Grayson Perry: Delusions of Grandeur” remains a vibrant, if at times controversial, exploration of identity and art history. Through the spectacle and audience it draws, the exhibition acknowledges the public’s capacity for an introspective examination of historical and contemporary dialogues. The exhibition continues at the Wallace Collection through October 26.