David Shrigley, Ding Dong The Witch Is Dead, 2022

Ding Dong The Witch Is Dead (2022) – David Shrigley Linocut

About the Work

Ding Dong The Witch Is Dead (2022) is a striking David Shrigley linocut that delivers a stark, monochromatic statement through the artist's signature hand-carved typography. Rendered in dense black ink on a heavy cream paper background, the composition relies on the raw texture of the carved block to give the classic phrase an immediate, graphic presence. The deliberate irregularity of the lettering creates a tense visual rhythm that balances fine art tradition with cartoonish rebellion.

Operating within the realm of the dark absurdity that defines his practice, Ding Dong The Witch Is Dead elevates a familiar theatrical refrain into an ambiguous modern monument. By stripping away all illustrative context and leaving only the stark, hand-carved declaration, Shrigley invites the viewer to project their own contemporary grievances onto the celebratory statement. The physical resistance of the linoleum medium forces a slower, more deliberate mark-making process, lending a weight and permanence to the transient nature of the joke.

David Shrigley

Nominated for the Turner Prize in 2013, the artist has long been celebrated for his subversion of everyday anxieties. His public commissions, including the celebrated Fourth Plinth sculpture in Trafalgar Square and regular inclusions in the Royal Academy Summer Exhibition, have secured his position in major institutional collections worldwide.

This translation of immediate, spontaneous ink drawings into permanent graphic editions lies at the very heart of his enduring appeal. Acquiring a David Shrigley print offers collectors direct access to this unique visual language, where philosophical inquiry is distilled into deceptively simple compositions.

Screenprint Process

The choice of linoleum as a carving medium introduces a tactile depth and structural weight that contrasts sharply with the flat ink deposits of a standard screenprint. Each impression is pulled on 300gsm Somerset paper, a heavy, archival support that absorbs the rich oil-based black ink to create a velvety, embossed surface texture. This tactile quality emphasises the physical act of subtraction inherent to the block-printing method, making each sheet feel uniquely sculpted.

Collaborating with Copenhagen's prestigious Schäfer Grafisk Værksted, the production captures every micro-texture of the hand-carved block. This exacting standard ensures that the David Shrigley limited edition print retains the raw, visceral energy of the artist's original carving tool. While his screenprinting projects prioritise smooth, vivid saturation, this relief edition showcases a rare engagement with historical printmaking craft.

Collectability

Given his massive global audience, works featuring his iconic text-based humour generate consistent collector interest on the secondary market. The simplicity of the graphic design combined with the universal recognition of his distinctive handwriting makes these bold statements highly sought after.

Representing an important text piece from his highly active 2022 printmaking output, the work remains a highly desirable acquisition for seasoned collectors. Produced in a relatively small edition of 100, this publication enjoys a strong secondary-market presence due to its scarcity compared to larger runs.