David Shrigley, I'm Sorry for Being Awful, 2018

I'm Sorry for Being Awful (2018) – David Shrigley Screenprint

About the Work

I'm Sorry for Being Awful (2018) is an arresting David Shrigley screenprint that confronts the viewer with a striking juxtaposition of stark text and vibrant colour. Rendered with a vivid, saturated pink backdrop, the composition positions a crude, charcoal-like black silhouette beneath the central handwritten apology. This bold graphic tension creates an immediate visual impact, balancing playful aesthetic choices with a raw, unrefined execution.

Operating within the realm of Vulnerability, the work captures the universal dread of social inadequacy and self-reproach through its blunt, tragi-comic declaration. The deliberately infantile scribble contrasts sharply with the heavy weight of the apology, laying bare the awkwardness of human relationships. By elevating a deeply personal, anxiety-inducing sentiment into a monumental graphic statement, the artist transforms a moment of quiet shame into a shared, cathartic absurdity.

David Shrigley

Nominated for the Turner Prize in 2013, the celebrated British artist has carved out a unique space in contemporary art through his biting satire and deceptively simple draftsmanship. His public commissions, notably the monumental Really Good thumb sculpture for Trafalgar Square's Fourth Plinth, have cemented his status as a key chronicler of modern life. Today, his works are held in premier institutional collections worldwide, including Tate and the British Council.

Transitioning seamlessly from ink on paper to the realm of fine art publishing, his graphic editions retain the raw, immediate energy of his original drawings. This particular David Shrigley print exemplifies how the translation into ink on paper preserves the urgent, gestural qualities of his studio practice. Collectors value how these editions democratise his sharp observational wit while maintaining the sophisticated qualities of a gallery-standard work.

Screenprint Process

Utilising heavy-gauge 410gsm Somerset tub wove paper, the printmaking process delivers an exceptionally rich, tactile surface that standard commercial papers cannot replicate. The screenprinting technique allows for a highly saturated deposit of pigment, rendering the dense black ink of the text and the intense pink background with remarkable depth. Each layer of ink is meticulously applied, resulting in a crisp, velvety finish that enhances the graphic quality of the composition.

Printed in London by the renowned Jealous Gallery, the production of each David Shrigley limited edition print involves close collaboration to capture the precise texture of the artist's hand-drawn lines. By employing traditional screenprinting methods, the studio ensures that the energetic inconsistencies of the original drawing remain beautifully visible. The finished work presents a flawless fusion of high-end printmaking craftsmanship and casual graphic spontaneity.

Collectability

High levels of collector interest continue to surround the artist's text-based works, which are widely considered some of his most iconic and recognisable output. The blend of biting cynicism and earnest emotion makes these pieces highly sought-after additions to contemporary art collections globally. This enduring demand reflects the artist's significant cultural resonance and his established secondary-market presence.

Representing an important text piece from his highly active 2018 publishing period, I'm Sorry for Being Awful remains a particularly desirable example of the artist's printmaking practice. With a relatively small edition size of just 125, opportunities to acquire this specific screenprint have become increasingly infrequent. Consequently, this work continues to command strong attention from discerning collectors seeking to secure pivotal moments from his graphic oeuvre.