David Shrigley, I've Decided To Start Keeping A Diary, 2014

I've Decided To Start Keeping A Diary (2014) – David Shrigley Screenprint

About the Work

I've Decided To Start Keeping A Diary (2014) is a striking David Shrigley lithograph on paper that showcases the artist's signature approach to monochrome text-based compositions. While his vibrant screenprint editions often utilise bold blocks of primary colour, this piece relies on the quiet power of simple ink and paper. Rendered in stark black ink against an off-white background, the work features his immediately recognisable, faux-naive handwriting.

This piece perfectly captures the sense of Absurdity that defines much of his graphic output, transforming a mundane personal resolution into a public declaration of mock-seriousness. By leaving the remainder of the page entirely blank beneath the opening line, the composition highlights the immediate failure or futility of the diarist's project. The deliberate isolation of the text mimics the existential pause of a writer staring at an empty page, turning a simple thought into a broader commentary on human intention.

David Shrigley

Nominated for the Turner Prize in 2013, David Shrigley has secured a prominent position in contemporary British art through his satirical observations of daily life. His celebrated public commissions, notably the Fourth Plinth sculpture Really Good in Trafalgar Square, have cemented his reputation alongside regular features at the Royal Academy Summer Exhibition. Today, his works are held in premier public institutions worldwide, including the Tate and the Museum of Modern Art in New York.

The translation of his spontaneous ink drawings into high-quality printed editions allows the artist to maintain the raw immediacy of his original sketches while expanding their reach. Each David Shrigley print acts as a democratic vehicle for his conceptual humour, preserving the delicate imperfections of his handwriting with remarkable fidelity. This synthesis of casual drawing and formal print production remains a defining characteristic of his celebrated career.

Screenprint Process

Utilising a heavy Somerset paper as the physical foundation, this graphic work demonstrates a superb attention to tactile presentation. The rich black lithographic ink sits deeply within the grain of the premium paper, creating a stark contrast that elevates the simple handwritten statement. The choice of archival paper ensures that the subtle variations in the inked line remain crisp and stable over time.

This meticulous printmaking method perfectly captures the fluid ink pooling and spontaneous pressure of the original drawing. Published by Stephen Friedman Gallery, this David Shrigley limited edition print exemplifies how formal editioning techniques can dignify the most casual of gestures. Though his graphic output frequently utilises screenprint methods for bolder colour blocks, this lithographic approach provides an intimate, hand-drawn texture that feels remarkably personal.

Collectability

Text-based works by the artist enjoy sustained collector interest due to their instant relatability and iconic visual presence. The stark simplicity of the black-and-white aesthetic makes these editions highly adaptable to diverse contemporary collections, serving as strong focal points. Collectors often prioritise these monochrome statements as they represent the very core of his graphic language.

Representing an important text piece from his highly active 2014 publishing period, this composition is increasingly sought after due to its limited edition run of only 100 copies. As earlier works from this decade become more difficult to source on the secondary market, this piece remains a particularly desirable example of his satirical practice. The small edition size combined with the enduring relevance of the statement ensures its continued appeal among serious collectors of contemporary printmaking.