Shrine to the unknown Teddy Bear constructed in London
Last holiday season we were in awe of a scaled gingerbread model of Frank Lloyd Wright’s Falling Water House, complete with an icy river. It was created by Melodie and Brenton using 12 feet of gingerbread dough and 40 sleeves of large Smarties. But this year’s best design has to go to Tom, John and Finn Keane, who along with Daniel Bergsagel and Ishbel Mull have broken the mould and outdone the professionals, by creating their Grayson Perry Gingerbread Shrine. This is the most original design for a gingerbread house this year. The masterpiece is a scaled model of a Perry design which was recently exhibited at the Mudam Museum in Luxembourg and currently on show, in London at the British Museum. The gingerbread model took over 4 hours to design, construct and decorate. It boasts about 4 feet of gingerbread dough and incorporates models of Perry’s ceramic pots and teddy bears. Recipe: 250g butter, 200g brown sugar, 7 tbsp golden syrup, 600g plain flour, 4 tbsp ginger. Bake for 10 mins in fan oven at 200c.
Turner Prize winning, cross dressing artist Perry, has spent the past two years behind the scenes at the British Museum putting together The Tomb of the Unknown Craftsman. This major exhibition, which opened in October, is an installation of his new works alongside objects made by unknown men and women throughout history from the British Museum’s collection. This is the perfect exhibition to visit over the holiday and appears in our ArtLyst top 10 year end roundup.
Grayson Perry’s work explores a personal universe, which expresses itself in his works through his many autobiographical references and details. Grayson enjoys various artistic techniques, combining applied arts with fine art. His preferred technique is incised ceramics, which he creates on monumental and smaller vases and pots. An studied approach is needed to thoroughly appreciate the technical complexity of these masterworks which utilises humour and graphic sexual scenes in the imagery featured. Perry’s representational method, self-termed “guerrilla tactic” plays with the effects of surprise and irritation. The variety in form featured in his creations challenges numerous value judgements, both moral and aesthetic, and all is called into question with a disarming effect. While Perry’s work is eccentric and often chaotic, it remains faithful to several values important to Perry himself, above all tolerance.