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63 Grayson Perry, a generation, apart than the other artists in this chapter, is a master of the incongruous juxtaposition; Grayson Perry scrawls savage satirical messages alongside sentiments of nostalgia for lost innocence. He draws his inspiration from a wide range of sources, including historical and contemporary society with a prominent autobiographical narrative. Though his work is often witty and humorous in approach, it paradoxically contains images of violence and other disturbing social issues, as well tackling subjects that are universally recognizable such as identity, gender, social status, sexuality and religion. Perry's graphic work, many made with Paupers Press, and published by Paragon Press, combine his personal world view with a fantastical cacophony of other ideas and preoccupations; delicately weaved together and executed as ever with his totally idiosyncratic flair and meticulous eye for detail. Perry adds to the layers of meaning as he is also interested in how each historic category of object accrues intellectual and emotional baggage over time and he visibly pays homage to the medium he is working with. Both Frank Auerbach and Lucian Freud worked with Terry Willson's Palm Tree Editions in Camden, London. Freud admired Auerbach's etchings and asked where he had printed them, thus Auerbach introduced Freud to Willson. Both artists have unique and intense mark making in their paintings, drawings and prints. Auerbach, despite the seeming restrictions of an etching plate, manages to create the energy and intensity of his paintings and drawings, revealing the very soul and presence of his sitter onto the metal plate. Freud's etchings from the mid-1980s onwards are distinguished by their size and technical command. Standing his copper plates upright on an easel, for the first time, he was able to work with greater force and fluidity. He claimed to find etching easier than drawing, candidly acknowledging the role that redrawing can play in printmaking. Sometimes Freud would ask the printer to erase sections, to crop an image or to scrap a final printing in favour of earlier proofs. Working closely with Marc Balakjian, at Studio Prints in Kentish Town, Freud was always present at the biting and proofing of his plates. Contemporary I