Grayson Perry’s Smash Hits Show at the Scottish National Gallery, Edinburgh, got a rather sniffy and somewhat off the point review in the Guardian.

Yes, it’s about Englishness, even a very Grayson Perry kind of Englishness, but why should an exhibition about Englishness not take place in Edinburgh? Especially in the middle of an International Festival.

In any case it could be argued that Englishness has had more effect on Scotland than any other influence (except perhaps Calvinism) and is therefore an entirely appropriate subject for contemplation in the Scottish capital.

One of the most intriguing exhibits at the Exhibition was a model of a ship, titled The Tomb of the Unknown Craftsman. (I’m always a sucker for ship models.) Perry’s explanation of the piece is here.

Another piece, Temple for Everyone, reminded me of the story of Hansel and Gretel. See Perry’s explanation here.

I was more taken with this kintsugi piece than I was with Perry’s undamaged vases. Kintsugi* is the Japanese Art of smashing an object – especially a piece of pottery and then gluing it back tgether and highlighting the joins with gold:-

This plate, Two Old Guys Wearing Checked Skirts, like a lot of pieces at the exhibition, (far too many in fact) features Perry’s childhood teddy bear Alan Measles and is a sort of homage to the late Queen Elizabeth:-

This piece of pot, English Wanker, just about speaks for itself:-

*Edited to add: I have since found out that the Japanese frown on deliberately breaking something to reform it. Kintsugi is more properly the highlighting of imperfections – the repair of broken pottery lending itself to this.

A couple of weeks ago myself and the good lady went to the Grayson Perry Exhibition at the National Gallery in Edinburgh. It’s called Smash Hits.

I wasn’t expecting much as what I’ve seen of his work on television didn’t inspire me. However we are Friends of the National Galleries and that has various benefits – among them a discount in their cafés  (the one in Modern Two is excellent) and free entry to exhibitions such as this. (I would not have paid the entrance fee of £19.)

I had known Perry made his name as a potter and has an alter ego as Claire whom I find tiresome in the extreme.

I was, though, pleasantly surprised to see in the first gallery two sculptures which to me had a Japanese look.

Our Father and Our Mother. Clicking on the links should take you to my photos of the blurb accompanying each:-

The next gallery had a series of tapestries collectively titled The Vanity of Small Differences and based on Hogarth’s Rake’s Progress but updated for the Twenty-First century:-

Note the cafetiere and “literature” mugs in the second one above. Apparently these are emblems of being middle class. I admit to using a cafetiere. I don’t have literature mugs though.

The background in the last one seemed to me to sum up life in Britain in latter years:-

Another huge tapestry illustrated Perry’s lack of originality. It’s titled Morris, Gainsborough, Turner, Riley:-

His “Battle of Britain” ended up as a conscious channelling of Paul Nash. It’s quite effective though:-