David Shrigley, Man Climbing, 2005

Man Climbing (2005) – David Shrigley Woodcut

About the Work

Man Climbing (2005) is a striking David Shrigley woodcut on wove paper that captures the artist's signature existential irony through remarkably sparse geometry. The composition features a lone, crudely rendered figure scaling a steep black diagonal line against an unadorned, off-white background. This stark monochrome contrast strips the scene of any narrative context, leaving only the raw graphic impact of the black ink on paper.

By reducing the climb to a single, endless incline, the work articulates a profound sense of frustration and Sisyphean futility. The figure's strained posture and oversized limbs convey the heavy physical toll of a seemingly pointless task, embodying the artist's fascination with the comedy of human struggle. This poignant vulnerability transforms a simple graphic exercise into a universal metaphor for daily perseverance.

David Shrigley

Since his Turner Prize nomination in 2013, David Shrigley has established himself as one of the most significant and celebrated figures in contemporary British art. Best known for his satirical drawings and public installations, including the acclaimed Fourth Plinth commission in Trafalgar Square, his work is held in major institutional collections worldwide. His unique ability to balance dark humour with profound existential inquiry has earned him a prominent place in the Royal Academy of Arts.

The translation of his immediate, spontaneous drawing style into the physical medium of printmaking has been central to his global appeal. Each David Shrigley print acts as a democratic extension of his conceptual practice, allowing collectors to engage directly with his distinct graphic lexicon. This graphic simplicity belies a sophisticated understanding of composition and text that resonates across diverse audiences.

Screenprint Process

Published by Copenhagen Press, this scarce edition highlights a pivotal collaboration that helped define the artist's early printing output. While his contemporary market is largely characterised by the vibrant colour layers of the modern screenprint, this particular woodcut utilises a raw, tactile ink application on wove paper. The heavy black pigment sits proud on the surface of the paper, offering a rich texture and depth that differs significantly from his later screenprinting projects.

This deliberate relief printing technique perfectly preserves the directness of the artist's original carving, capturing every minute splinter and block edge. Acquiring an early David Shrigley limited edition print of this nature allows collectors to appreciate the physical craft of Copenhagen Press alongside the artist's raw graphic hand. The resulting print possesses an organic, artisanal quality that complements the inherent tension of the subject matter.

Collectability

The market for the artist's graphic works continues to show exceptional strength, driven by sustained global demand and a highly active secondary market. Collectors actively seek out his most recognisable imagery, which consistently performs well at international auctions. This continued collector interest is particularly pronounced for early, low-edition works that represent the foundation of his printmaking career.

Representing a rare example from his highly sought-after 2005 institutional period, the piece remains a particularly desirable acquisition for serious collections. With an exceptionally small edition size of just 20, Man Climbing offers a level of scarcity rarely seen in his later, larger-edition screenprint releases. This combination of early career significance and restricted print run makes it an exceptionally important acquisition mark for discerning collectors.