Manchester Art Gallery is currently showing Perry’s tapestries The Vanity of Small Differences, created as part of a series of three programmes for Channel 4, In the Best Possible Taste, which explored notions of class and taste in England.
The tapestries are a modern take on Hogarth’s A Rake’s Progress, a series of paintings and engravings which tell the story of Tom Rakewell who inherits a fortune at the death of his father, squanders it on wine, women and song, is thrown into debtor’s prison, and ends up insane the Bethlehem Hospital. Perry’s narrative charts the story of Tim Rakewell from his birth on a council estate in Sunderland, to becoming a middle-class businessman in Tunbridge Wells, a millionaire in the Cotswolds, and his death in a gutter.
The tapestries are as densely packed with symbolism as the Gallery’s famous Pre-Raphaelite paintings (Ford Maddox Brown’s Work and Holman Hunt’s Shadow of Death are particular highlights) – layers of references to Old Master paintings (explicit in the titles of five out of six of the works), cameo appearances by public figures and people Perry met when making the Channel 4 series.
Perry expertly combines craft, social commentary and humour in his work. He is a kind of artist-prophet – a role Blake also saw himself inhabiting but unlike Perry, who has recently expounded his thoughts on the art world from the establishment platform of the BBC’s Reith Lectures, Blake’s prophecy was not well-received in his lifetime. Blake also didn’t think much of Hogarth.
I wonder what Perry thinks of Blake and what Blake would make of Perry.