David Shrigley, Fire Extinguisher, 2014

Fire Extinguisher (2014) – David Shrigley Linocut

About the Work

Fire Extinguisher (2014) is a striking David Shrigley linocut in colours on wove paper that captures the artist's celebrated ability to elevate mundane, functional objects into icons of existential comedy. Rendered in a bold, saturated crimson hue against a stark, unadorned cream background, the graphic depiction of the safety device dominates the composition. This deliberate reduction of form strips the object of its utility, transforming an emergency tool into a minimalist signifier.

By rendering the safety apparatus with intentionally crude, hand-carved lines, the composition engages with the themes of absurdity and bureaucratic futility. The lack of instructional text or context isolates the object, inviting the viewer to contemplate the irony of a fire-fighting tool captured permanently in static print. This tension between the urgent, active purpose of the subject and its passive, artistic representation defines the unique psychological space of the work.

David Shrigley

Highly regarded for his satirical take on contemporary life, David Shrigley has secured a formidable position within British contemporary art, highlighted by his 2013 Turner Prize nomination and his celebrated Fourth Plinth commission, Really Good, for Trafalgar Square. His work is held in prestigious international public institutions, including the Tate Collection and the Museum of Modern Art in New York. This widespread institutional recognition underscores his influence as a chronicler of modern anxiety.

Transferring the raw energy of his sketchbooks to the gallery wall requires a sophisticated understanding of graphic media. Each David Shrigley print translates the immediacy of his spontaneous line drawings into permanent, high-contrast editions. This transition from ephemeral ink drawings to structured graphic art highlights his mastery of visual economy.

Screenprint Process

The physical production of this piece showcases the tactile qualities of traditional printmaking techniques, contrasting with the flat surfaces typical of a modern screenprint. Utilising a careful layering of rich, oil-based inks on heavy wove paper, the method produces a distinct surface texture that enhances the graphic weight of the red silhouette. This demanding approach to colour application ensures that the saturated crimson pigment retains its vibrancy over time, free from any artificial varnish overlay.

While Shrigley often utilises screenprinting to achieve flat planes of colour, this linocut employs a more tactile block-printing technique. Published in partnership with Stephen Friedman Gallery, this David Shrigley limited edition print reflects the exact scale and directness of the original block matrix. By preserving the rugged edges of the cut lino, the final print replicates the spontaneous, human touch of the artist's studio practice.

Collectability

Works featuring clear, central motifs and minimal text consistently attract the highest levels of collector interest. By focusing on a single, universally recognisable object, Fire Extinguisher exemplifies the graphic purity that collectors actively seek. This visual clarity ensures the piece stands out within the secondary market, where his iconic designs command enduring attention.

Representing a notable example from his highly active 2014 institutional period, which followed his seminal Turner Prize exhibition, the edition remains highly sought after. With an edition size of just 100, this scarce work represents a more exclusive tier of his printmaking output than his larger, unlimited editions. The continued collector interest in this specific release reflects its status as a vital document of the artist's mid-career creative peak.