David Shrigley, Paper, 2005

Paper (2005) – David Shrigley Woodcut

About the Work

Paper (2005) is a striking David Shrigley woodcut on wove Paper that confronts the viewer with delightful, raw simplicity. Rendered in a bold, monochrome palette, the image depicts a single, heavily outlined rectangle containing the crudely carved word "Paper". This stark black-and-white composition highlights the artist's signature graphic economy and intentional lack of embellishment.

By designating the physical support of the artwork as its sole subject, Paper revels in a profound sense of absurdity. The stark contrast of black ink against the raw texture of the Paper mirrors the circular logic of the text itself. In doing so, it prompts a witty, self-referential dialogue about the nature of representation and material reality.

David Shrigley

Nominated for the Turner Prize in 2013, David Shrigley has established himself as one of the most prominent chroniclers of contemporary life. His public commissions, notably the monumental Really Good thumb on Trafalgar Square's Fourth Plinth, alongside regular inclusions in the Royal Academy Summer Exhibition, have secured his position in international institutions. Today, his works are held in the permanent collections of prestigious museums worldwide, including Tate and the Museum of Modern Art in New York.

Translating the immediacy of his spontaneous ink drawings into permanent graphic editions, his work retains a raw, unmediated energy. This tactile translation is particularly evident in each David Shrigley print, where the physical process of cutting or pressing elevates his quick-witted observations. By preserving the human imperfections of his original sketches, these editions bridge the gap between high-art institutional spaces and accessible, everyday humour.

Screenprint Process

In collaboration with Copenhagen's esteemed Galleri Nicolai Wallner, this rare woodcut showcases a striking physical alternative to the artist's more common screenprints. While his screenprinting process typically utilises heavy layers of ink on Somerset Paper, this relief print applies a dense black ink pressed firmly into fine wove Paper. The stark monochrome palette requires no complex colour separation, relying instead on the heavy, hand-carved block to transfer the design.

This traditional hand-carved technique perfectly captures the physical spontaneity of the artist's original drawing, transferring the wood grain and carved ridges directly onto the sheet. In contrast to the flat, graphic surfaces of a typical David Shrigley screenprint, this woodcut medium imbues the composition with a rich, textural quality. Published in a highly restricted run, this work highlights the artist's early engagement with historic printmaking traditions.

Collectability

As a highly sought-after early work, Paper represents a pinnacle of the artist's conceptual output, driving immense collector interest on the secondary market. The piece prioritises his most recognisable imagery: stark block text, deadpan humour, and minimalist forms. Acquiring a limited edition from this formative era offers a rare connection to the artist's early graphic language.

Representing an exceptional example of his institutional period from his celebrated 2005 Copenhagen printmaking era, the piece remains a particularly desirable example of Shrigley's early printmaking practice. With an edition size of just 20, its extreme scarcity compared to later, larger editions makes it a key target for dedicated collectors. This combination of historical relevance and low edition size ensures its continued appeal within contemporary art circles.