David Shrigley, Really Bad, 2007

Really Bad (2007) – David Shrigley Screenprint

About the Work

Really Bad (2007) is a compelling David Shrigley screenprint that masterfully distils the artist's signature existential irony into a stark, monochromatic composition. Featuring a crudely drawn figure accompanied by the bludgeoning block text of the title, the work utilises a minimalist black ink against a pristine white wove paper background. This stark contrast emphasizes the deliberate, unpolished aesthetic that has come to define the artist's internationally celebrated oeuvre.

The deliberate simplicity of the rendering directly amplifies the sense of absurdity, transforming a declaration of failure into a source of dark comedy. By rendering the text "Really Bad" in his characteristic uneven lettering, the composition captures the universal human frustration of falling short of expectations. The tension between the bold physical presence of the ink and the defeatist message creates a poignant, humorous commentary on contemporary anxiety.

David Shrigley

Nominated for the prestigious Turner Prize in 2013, David Shrigley has secured his position as one of the most significant British artists of his generation. His monumental public commission for the Fourth Plinth in Trafalgar Square, along with regular inclusion in the Royal Academy Summer Exhibition, highlights his widespread institutional acclaim. His works reside in the permanent collections of major museums worldwide, including Tate and the Museum of Modern Art in New York.

Translating his raw, immediate ink-on-paper drawings into the demanding medium of fine art multiples allows the artist to democratise his practice while preserving its intimate, hand-made quality. Each David Shrigley print acts as a direct conduit to his subversive philosophy, ensuring his spontaneous line work is meticulously captured. This translation of rapid drawing into structured editions forms the core of his enduring popularity in the contemporary market.

Screenprint Process

Published by the renowned Stephen Friedman Gallery, this screenprint demonstrates a meticulous approach to replicating the exact texture of raw ink on paper. Utilising heavy-bodied black pigment applied to premium wove paper, the print studio ensured that every intentional imperfection in the line work was perfectly registered. The lack of glossy varnish highlights the flat, matte quality of the ink, mimicking the dry-marker texture of the original drawing.

The screenprinting technique is particularly suited to capturing the visceral weight of the artist's calligraphic marks, elevating a simple sketch into a formal graphic statement. Through this process, each David Shrigley limited edition print achieves a tactile surface depth where the ink sits prominently on the heavy wove sheet. Collaborating with leading printmakers, the publisher maintained the raw integrity of the original master drawing while scaling it for a highly exclusive edition.

Collectability

Driven by a highly active global collector base, early works of this nature are increasingly difficult to source on the secondary market. The recognizable imagery of his text-based compositions has become highly coveted, particularly those that address the human condition with his trademark dry wit. This persistent collector interest reflects the enduring cultural resonance of his early conceptual works.

Representing an important text piece from his highly influential 2007 printmaking period, this work is exceptionally scarce due to its remarkably small edition size of only 36. Examples from this era are rarely offered publicly, ensuring continued collector interest and strong secondary-market presence. It remains a particularly desirable example for those seeking to acquire a seminal, early work from his graphic catalogue.