David Shrigley, Left Foot, 2017

Left Foot (2017) – David Shrigley Print

About the Work

Left Foot (2017) is a striking David Shrigley linocut that pairs the artist's signature deadpan aesthetic with bold, graphic execution on high-quality wove paper. The composition centers on a heavily simplified, black-ink depiction of a human foot, rendered with thick, intentional lines that challenge traditional anatomical representation. This monochromatic work relies on stark negative space, allowing the raw texture of the paper to contrast beautifully against the rich, dense black ink of the footprint.

By reducing the human body to an elementary, slightly misshapen extremity, Left Foot evokes a sense of dry, observational humour. The deliberate crudeness of the toes and heel strips away any classical sense of beauty, inviting the viewer to contemplate the sheer absurdity of physical form. This subversion of academic life drawing highlights a shared vulnerability, transforming a mundane anatomical subject into a poignant visual joke.

David Shrigley

Celebrated for his biting wit and deceptively simple draftsmanship, David Shrigley has secured a formidable position in contemporary British art, cemented by his Turner Prize nomination in 2013. His widely acclaimed public commission, Really Good, a towering bronze thumbs-up for London's Trafalgar Square Fourth Plinth, alongside regular inclusion in the Royal Academy Summer Exhibition, illustrates his unique ability to engage both critical institutions and the public. Today, his works reside in prestigious international collections, including Tate and the Museum of Modern Art in New York.

His practice relies on translating immediate, raw observations into highly polished multiples. This particular David Shrigley print demonstrates how his seemingly casual, unfiltered ink drawings are elevated through meticulous traditional production methods. By formalising these fleeting thoughts, the artist bridges the gap between outsider art and refined gallery-level presentations.

Print Process

Utilising a deeply tactile medium, this work highlights the specific physical properties of a hand-carved linocut on heavy wove paper. The linocut technique demands a physical, deliberate carving process, resulting in raised borders and a rich ink deposit that digital methods cannot replicate. Every minor imperfection in the block translates into a unique stamp of authenticity on the paper, showcasing the artisanal nature of the medium.

This deliberate carving process captures the nervous energy of the original sketch, lending the final composition a surprising dynamism. Published by Jealous Gallery, this David Shrigley limited edition print demonstrates a masterful collaboration between printmaker and artist, ensuring the ink's opacity remains exceptionally uniform across the entire edition. The resulting print achieves a physical presence that honours the immediacy of the artist's original vision.

Collectability

As demand for the artist's graphic multiples continues to grow, early graphic editions featuring his iconic, stripped-back motifs have attracted sustained collector interest. The minimalist rendering of everyday objects and body parts remains central to his visual vocabulary, making this piece highly recognisable. Such iconic subject matter ensures the work maintains a strong secondary-market presence.

Representing a key acquisition from his highly regarded early Jealous period, the work remains a particularly desirable example of Shrigley's output. With an edition size restricted to just 100 copies, this limited-run publication offers genuine scarcity for serious collectors. Its place within his mid-career printmaking era makes it a highly sought-after acquisition for those tracking his market trajectory.