David Shrigley, Fight For Peace, 2014

Fight For Peace (2014) – David Shrigley Screenprint

About the Work

Fight For Peace (2014) is a compelling etching on paper that masterfully showcases David Shrigley's celebrated brand of subversive graphic art. Rendered in a striking monochrome black ink, the composition depicts two crudely drawn, genderless figures locked in physical combat beneath the titular declaration. The stark, unadorned white background intensifies the immediate visual impact of the line work, capturing the raw energy of the struggle.

This physical altercation directly satirises the inherent contradiction of the phrase, highlighting the absolute absurdity of waging war to achieve tranquil harmony. By rendering Fight For Peace in such a stark, confrontational manner, the artist exposes the flawed logic of militaristic pacifism. The tension between the violent kinetic action and the idealistic text creates a dark, humorous friction typical of his finest output.

David Shrigley

As a Turner Prize nominee and celebrated Royal Academy member, David Shrigley has secured an indelible position within the landscape of contemporary British art. His public commissions, most notably the colossal bronze Really Good for the Fourth Plinth in Trafalgar Square, demonstrate his ability to bridge the gap between high art and popular culture. Today, his works are held in prestigious international institutions, including the Tate and the Museum of Modern Art in New York.

His practice translationally moves spontaneous, immediate ink drawings into highly structured graphic editions. Collectors of any classic David Shrigley print will recognise how these works preserve the raw authenticity of his original sketchbooks. This deliberate preservation of human imperfection serves as a subtle rebellion against the polished commercialism of contemporary design.

Screenprint Process

While he frequently utilises screenprinting to achieve flat planes of saturated colour, this specific work employs a traditional etching technique on heavy Somerset paper. This intaglio method allows the biting acid to translate the hand-drawn line into a deeply debossed, ink-rich groove. The contrast between his trademark screenprint editions and this richly textured, hand-pulled etching highlights the artist's diverse technical versatility.

The physical indentation of the etching plate gives the line a sculptural presence that mimics the immediate pressure of the artist's original pen. Published in collaboration with the renowned Stephen Friedman Gallery, this David Shrigley limited edition print exemplifies how master printers can preserve spontaneous gestures through analogue techniques. The result is a tactile, hand-finished aesthetic that elevates a simple drawing into an archival masterpiece.

Collectability

Artworks featuring his signature text-and-figure combinations consistently command high levels of collector interest on the secondary market. The universal appeal of his dark humour, paired with immediately recognisable imagery, ensures these editions remain highly sought-after. Consequently, pieces from this era are frequently prioritised by collectors looking to anchor their collections with definitive examples of his graphic style.

Representing an exceptional monochrome work from his highly active 2014 institutional period, the piece remains a particularly desirable example of Shrigley's printmaking practice. This specific edition, with its tight production run, is increasingly difficult to source, further driving interest among discerning acquisitions. It stands as a pivotal historical marker of his critical transition into major global museum exhibitions during the mid-2010s.