David Shrigley, Untitled (Hairy Monster), 2009

Untitled (Hairy Monster) (2009) – David Shrigley Screenprint

About the Work

Untitled (Hairy Monster) (2009) is a striking David Shrigley engraving on paper that subverts classical printmaking techniques through his signature raw aesthetic. The composition features a central, heavily cross-hatched amorphous creature, rendered in dense black ink against a crisp, minimalist cream background. This stark monochrome contrast highlights the tactile quality of the incised lines, capturing the creature's chaotic texture.

By portraying a supposedly terrifying beast with delicate, spindly stick legs and a blank expression, the artist explores the emotional register of absurdity. The physical weight of the deeply etched black lines contrasts with the figure's fragile stance, transforming a traditional monster archetype into a poignant study of vulnerability. Through this tension, Untitled (Hairy Monster) addresses the irrational anxieties of contemporary life by rendering them simultaneously grotesque and pathetic.

David Shrigley

As a celebrated Turner Prize nominee and Royal Academician, the artist has secured a formidable position within contemporary art. His public commissions, including the renowned Fourth Plinth sculpture in Trafalgar Square, have cemented his status as a key British cultural figure. Today, his work is held in prestigious international public collections, including the Tate and the Museum of Modern Art in New York.

This graphic immediacy translates seamlessly into his graphic editions, where the urgency of his original drawings is preserved. Collectors of each David Shrigley print appreciate how these editions maintain the raw, unmediated energy of his sketchbook pages. The transition from rapid drawing to the deliberate, physical mark-making of printmaking creates a compelling tension in his work.

Screenprint Process

Offered in an exceptionally small run of just 20 impressions, this engraving represents an intimate, highly sought-after counterpart to his more common screenprint editions. While a screenprint allows for broad flats of solid colour, the engraving process utilises incised plates to press ink deep into the heavy Somerset paper, resulting in a distinct plate mark and raised ink lines. This choice of medium yields a deeply textured surface that emphasises the physical presence of the mark.

This physical depth captures the artist's spontaneous line with a rich, velvety blackness that screenprinting cannot easily replicate. Produced in collaboration with a master printmaker at Paragon Press, this David Shrigley limited edition print exemplifies how traditional techniques can be subverted to modern, comedic ends. The resulting impression elevates the simple graphic form into a tactile object of fine art.

Collectability

Given the small edition size, there is strong collector interest in these scarcer, early graphic releases. Unlike his larger runs, this print represents a rare moment where his recognisable imagery is rendered with historical intaglio techniques. Such pieces are increasingly sought after by institutional and private collectors alike.

Representing an early animal motif from his highly active 2009 printmaking period, the piece remains a particularly desirable example of the artist's early graphic output. With only 20 examples in existence, Untitled (Hairy Monster) has an established market presence and continues to attract significant interest on the secondary market. It represents a sophisticated acquisition for collectors wishing to look beyond his high-volume runs.