David Shrigley, Untitled (Scribble And B), 2005

Untitled (Scribble And B) (2005) – David Shrigley Woodcut

About the Work

Untitled (Scribble And B) (2005) is a striking David Shrigley woodcut print that captures the artist's signature subversive minimalism through stark monochrome contrast. The composition pairs a dense, chaotic tangle of hand-carved black lines with a perfectly isolated, naive rendering of the capital letter 'B' on a warm off-white background. This visual dichotomy highlights the raw, physical impression of the woodblock, rendering the heavy black ink with exceptional graphic weight.

Operating within the realm of existential absurdity, the print explores the futile human desire to impose administrative order onto internal psychological noise. By placing a standardised symbol next to an erratic, unreadable mark, the composition strips language of its utility. The stark juxtaposition forces the viewer to confront the comical inadequacy of symbols when confronted with raw, unmediated expression.

David Shrigley

Celebrated for his mordant wit, David Shrigley has secured an enduring legacy within contemporary British art, highlighted by his 2013 Turner Prize nomination and the celebrated Fourth Plinth commission in Trafalgar Square. His work is held in prestigious public institutions worldwide, including Tate, the British Council, and the Museum of Modern Art in New York. This widespread institutional backing cements his position as one of the most significant satirists of modern life.

Translating his immediate, raw ink drawings into formal graphic editions allows the artist to elevate transient thoughts into permanent, institutional statements. Each David Shrigley print acts as a satirical mirror, utilising seemingly crude draftsmanship to deliver profound insights into human anxiety. Through printmaking, these fleeting observations are formalised and preserved with archival precision.

Screenprint Process

Published by Stephen Friedman Gallery in London, this rare woodcut showcases a tactile depth that differs from his more common screenprinting output. Rather than the flat, uniform ink of a screenprint, the relief process produces a rich, varied surface texture on heavy Somerset paper. This artisanal method leaves subtle woodgrain patterns in the solid black ink, contrasting beautifully with the clean unprinted margins.

Collaborating with elite print studios allowed the artist to experiment with diverse graphic mediums while retaining the immediate energy of his original ink sketches. This David Shrigley limited edition print showcases the physical resistance of the wood block, where every carved gouge translates directly into a bold, permanent line. The resulting work carries an authentic, tactile presence that defines his early printmaking output.

Collectability

The market for the artist's graphic works has seen sustained growth, with collectors increasingly seeking early, low-edition examples of his dark humour. Untitled (Scribble And B) represents a prime example of his highly recognisable textual and abstract motifs. As a result, pieces from this era enjoy continued collector interest due to their historical positioning in his career.

Representing a scarce woodcut from his celebrated institutional period, the piece remains a particularly desirable example of Shrigley's printmaking practice. With an exceptionally small edition size of just 20, this work is significantly rarer than his later commercial releases. Consequently, it occupies a highly sought-after position within the artist's secondary-market footprint.