David Shrigley, Untitled (I'll do it), 2002

Untitled (I'll do it) (2002) – David Shrigley Screenprint

About the Work

Untitled (I'll do it) (2002) is a striking David Shrigley screenprint that captures the artist's signature deadpan aesthetic through minimalist monochrome execution. The composition features stark black hand-rendered text on a crisp white background, emphasizing the raw immediacy of the original drawing. This deliberate simplicity forces the viewer to confront the starkness of the graphic mark without the distraction of colour.

Through the lens of frustration, the three simple words of Untitled (I'll do it) convey a sense of begrudging resignation and the weight of daily expectations. The slight wobble in the hand-drawn lettering underscores the vulnerability of human compliance, transforming a mundane statement into a profound psychological observation. This tension between the simplicity of the text and the underlying anxiety of obligation defines the conceptual depth of the work.

David Shrigley

Nominated for the Turner Prize in 2013, David Shrigley has secured his place as one of the most celebrated contemporary British artists through his biting social commentary. A portfolio of public commissions, including the Fourth Plinth in Trafalgar Square and acclaimed exhibitions at the Royal Academy of Arts, has cemented his reputation worldwide. Examples of his work are held in prestigious public institutions, including the Tate and the Museum of Modern Art in New York.

Translating spontaneous ink-on-paper drawings into graphic mediums allows his distinct voice to reach a wider audience. The resulting compositions retain the urgent, immediate energy of his private journal entries. Acquiring a David Shrigley print offers collectors an intimate encounter with this unique blend of existential dread and dark humour.

Screenprint Process

As an edition hook, this early release illustrates how the screenprint medium can perfectly preserve the delicate nuances of the artist's original pen strokes. Printed on heavyweight Somerset paper, the deep black ink sits proudly on the surface, offering a tactile quality that digital reproduction cannot replicate. The absence of a varnish overlay allows the matte texture of the paper and ink to interact naturally with ambient light.

This meticulous approach to screenprinting ensures that the raw spontaneity of the original drawing is fully realised in the final printed form. Published in collaboration with Galleri Nicolai Wallner, this David Shrigley limited edition print exemplifies the high production standards of his early publishing partners. The clean lines and rich saturation of the ink demonstrate why this traditional stencil technique remains the artist's preferred method of replication.

Collectability

Driven by the global recognition of his distinct visual vocabulary, collector interest in the artist's early 2000s output remains exceptionally strong. Text-based works from this period are highly sought after, as they represent the purest distillation of his philosophical inquiry. The clean presentation of recognisable imagery ensures that these works remain highly visible in both private and institutional collections.

Representing an important text piece from his influential early career, the composition remains a particularly desirable example of his graphic output. Because early editions of this nature were produced in limited numbers, they are increasingly difficult to source on the secondary market. The enduring relevance of the phrase ensures its continued appeal among discerning collectors.