David Shrigley, It's OK, 2015

It's OK (2015) – David Shrigley Linocut

About the Work

It's OK (2015) is a powerful David Shrigley linocut that delivers a message of blunt solace through stark, hand-carved typography. Rendered in a striking monochrome black ink on heavy white paper, the composition strips away all decorative elements to focus entirely on the raw physical texture of the print. The bold, irregular lettering bears the deliberate imperfections of the carving process, creating a resonant contrast against the clean, negative space of the background.

By presenting the phrase 'It's OK' in such an unvarnished, monumental format, the work captures a sense of complex optimism that feels both deeply comforting and slightly absurd. The text functions as a secular mantra, acknowledging life's chaotic uncertainties while offering a quiet, defiant reassurance. This delicate balance between anxiety and comfort elevates the simple statement into a poignant commentary on modern vulnerability.

David Shrigley

Nominated for the Turner Prize in 2013 and celebrated for his monumental Fourth Plinth commission, Really Good, in Trafalgar Square, David Shrigley has secured a pivotal position in contemporary British art. His deceptively simple aesthetic is regularly featured at the Royal Academy Summer Exhibition and resides in the permanent collections of major museums worldwide, including Tate and MoMA. This institutional acclaim highlights the conceptual rigor underpinning his ostensibly casual artistic output.

While his practice spans sculpture, painting, and public installation, it is his graphic works that most directly translate the immediacy of his spontaneous line drawings. Each David Shrigley print acts as a direct conduit for his deadpan observations, translating raw ink drawings into permanent graphic editions without losing their characteristic intimacy. Through this medium, the artist democratises his practice, offering collectors a direct connection to his distinctive philosophical outlook.

Screenprint Process

Utilising the physical texture of heavy Somerset wove paper, this edition highlights the unique, tactile qualities of the traditional block-printing method. Unlike a standard screenprint, which relies on stencil overlays and flat colour planes, the linocut process demands a physical carving of the matrix, resulting in thick, ink-rich ridges and subtle paper indentations. The heavy black oil-based ink sits proudly on the fibrous surface of the paper, creating a rich visual depth that cannot be replicated by digital means.

This rigorous hand-carving method ensures that every David Shrigley limited edition print in this series captures the exact pressure and knife stroke of the artist's original block. Published by Stephen Friedman Gallery, the print represents a masterful collaboration between artist and master printer to retain the raw vitality of the carved line. The resulting impression is a powerful testament to the enduring appeal of traditional printmaking techniques within contemporary art.

Collectability

Acquiring a text-based work by the artist represents an entry into one of the most sought-after categories of his oeuvre, where language becomes the primary artistic medium. Pieces that feature instantly recognisable typography and direct statements consistently command high levels of collector interest on the secondary market. This widespread demand is driven by the universal appeal of his texts, which easily transition between gallery spaces and private collections.

Representing an important text piece from his highly active 2015 printmaking period, the work remains a particularly desirable example of his graphic practice. With an edition size of just 100, this rare linocut possesses a scarcity that distinguishes it from his larger-run colour screenprints, ensuring continued collector interest. As the market for his classic works continues to mature, early examples of this calibre are increasingly difficult to source.