Tropical zoom backgrounds, daily walks, banana bread, and that uneasy feeling of navigating the unknown: Grayson Perry and his wife Philippa have captured these highly-personal and yet undoubtedly-ubiquitous chronicles of lockdown, and immortalised them in a three-section exhibition at the Bristol Museum and Art Gallery. Featuring selected pieces from the second series of the Channel 4 exclusive Grayson’s Art Club, the exhibition depicts both the work of celebrity artists and the public’s own interpretations of the lockdown experience, all centred around themes of family, nature, work, food and dreams.
It is hard not to feel a deeply personal connection to nearly every piece – from Harry Hill’s ambivalent tree-hugging sketch, to deconstructed baking photography – as one follows the trail of lockdown accounts, and almost every painting, sculpture and sketch elicits a visceral exclamation of, “Oh I remember that!”. Perry has gathered an array of the memories which defined lockdown, and the result is a strange but warm feeling of nostalgia and optimism. He demonstrates the truly crucial role of the arts during challenging times.
The wide scope of art is a stroke of genius; pieces not only reinstate a feeling of unity after a period of such isolation, but also demonstrate how feelings that arose during lockdown transcend the borders of age. Certainly, there are a multitude of emotions that are shared across generations, and these are strategically placed in the exhibition’s trail. Following a plethora of depictions of nature by mature artists is a colour pencil drawing by young artist Leonie Brown: an endearing, colourful interpretation of ducks in a pond. There is nothing patronising, either, about the inclusion of this piece; Brown’s art is treated as equally important as the rest of those in the nature section, and is accompanied by a simple yet poignant message that resonates with those of all ages: “When I was in lockdown, making the picture made me happy because I could not go to the farm to see the animals”. The inclusion of this no-frills child’s perspective sums up what, no doubt, is at the heart of the exhibition’s purpose.
Perry subtly and skilfully demonstrates how the need for creative outlet is not specific to age. And it is, indeed, refreshing to see such variety of age amongst creators at this exhibit, ranging from young children to older women exploring menopause artistically. Such a variety of perspectives is also epitomised by the diversity of genders, sexualities, and ethnic backgrounds of the artists on display. But one would expect nothing less from Grayson Perry, a man who has consistently defied gender norms and dissected British prejudices and fashions in the creative industry.
There are touches, of course, of lockdown’s darker sides. Mark Robert-Blunn’s poignant sketch, “Elderly collapse at home during COVID-19 pandemic” is a self-proclaimed attempt to “make sense” of the paramedic’s vital and nerve-wracking role on the frontline. Its disjointed lines and figures illustrate just one of many fleeting moments present in the background of the pandemic. Meanwhile, Cian Mclorughin’s family portrait, despite being completed before the start of the pandemic, was meticulously selected by Art Club contributor Boy George for its relevant reflection of the angst around family, identity, and unity commonplace during isolation at home. Perry has succeeded in encapsulating every space, domestic and industrial, of lockdown, bringing attention towards and insight into those areas we may have overlooked whilst being so devoted to our own private bubbles.
The overall result is a poignant celebration of human endeavour, whether this is the art itself or its subject matter. Perry’s notion that “Art is good for you, whoever you are” certainly rings true throughout this exhibition, and it’s a must-see for a new, communal take on the past two years.