GRAYSON PERRY (B. 1960)
GRAYSON PERRY (B. 1960)
GRAYSON PERRY (B. 1960)
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GRAYSON PERRY (B. 1960)
7 More
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A NEW YORK CHARITABLE FAMILY TRUST
GRAYSON PERRY (B. 1960)

Balloon

Details
GRAYSON PERRY (B. 1960)
Balloon
glazed ceramic
32 1⁄2 x 18 1⁄2 x 18 1⁄2in. (82.5 x 47 x 47cm.)
Executed in 2004
Provenance
Victoria Miro, London.
Acquired from the above by the present owner in 2005.
Literature
J. Klein, Grayson Perry, London 2009 (illustrated in colour, p. 222; detail illustrated in colour, p. 223).
Exhibited
London, Victoria Miro, Grayson Perry, 2004.
Australia, Museum of Contemporary Art Australia, Grayson Perry: My Pretty Little Art Career, 2015-2016, no. 18 (illustrated in colour, p. 226).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Christie’s has a direct financial interest in this lot. Christie’s has guaranteed to the seller that whatever the outcome of the auction, the seller will receive a minimum sale price for the work. This is known as a minimum price guarantee
Sale room notice
This lot was not marked with a circle symbol in the catalogue but is subject to a minimum price guarantee.

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Lot Essay

Executed in 2004—the year after Grayson Perry was honoured with the Turner Prize—Balloon is an outstanding example of the artist’s most celebrated pot series. Provocative in its nature, Balloon reveals Perry’s critique of London’s art world. Transforming galleries into churches, museums into cathedrals, artists into saints and collectors and gallerists into the clergy, Perry offers a humorous, subversive view of the relationships existing within the commercial art industry. He highlights specific characters, noting ‘Nicolas Serota as the pope, Charles Saatchi as the emperor and the British Council as Noah’s Ark. Michael Craig-Martin is a saint turning into an oak tree and St Tracey is in her bed’ (G. Perry, quoted in J. Klein, Grayson Perry, London 2009, p. 222).

Grayson Perry’s wit and self-awareness are unmissable in Balloon. Best known as a ceramicist, pots have long been a signature form for the artist. Although engaging with traditional methods to make his pots, he pushes the boundaries of the medium by deploying a range of techniques such as embossing and photographic transfers and reliefs. Though ostensibly traditional in form, Balloon challenges not only the decorative process of pottery but also its meaning, transforming the common pot into a vehicle for socio-cultural critique. Upon self-reflection, Perry notes ‘I decided to do a map of my own universe … and the obvious transcription was a map of the London art world. It’s called Balloon as the pot is balloon shaped but also because the art world is sometimes full of hot air’ (G. Perry, quoted ibid.).

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