David Shrigley, Web, 2005

Web (2005) – David Shrigley Woodcut

About the Work

Web (2005) is an arresting woodcut print by David Shrigley that strips the intricate architecture of a spider Web down to its crudest, most basic geometry. Executed in stark monochrome on heavy wove paper, the composition features hand-carved, uneven lines that sag under their own visual weight against a clean, unadorned background. This early graphic work demonstrates the artist's ability to extract profound meaning from the most rudimentary visual shorthand.

The fragile, asymmetric structure of Web evokes a poignant sense of isolation, presenting a home or a trap that appears structurally compromised and vacant. By subverting the natural precision of a spider's Web into a shaky, humanly flawed diagram, the composition speaks to the futility of our own attempts to construct perfect systems of security. It is a quiet, melancholic observation rendered with the artist's signature dark humour.

David Shrigley

Nominated for the Turner Prize in 2013 and celebrated for his monumental Fourth Plinth commission in Trafalgar Square, David Shrigley has secured an indelible position in contemporary British art. His satirical drawings and public interventions are held in prestigious public collections globally, including Tate and the British Council. The artist's deceptively simple aesthetic operates as a sharp critique of contemporary culture and everyday existential anxieties.

Transitioning his celebrated ink-on-paper drawings to the realm of printmaking, he masterfully retains the immediate, spontaneous energy of his original sketches. Every David Shrigley print acts as a democratic extension of his conceptual practice, making his challenging, witty observations accessible to a wider audience of collectors. Through these editions, the raw texture of his line work is elevated into a formal artistic statement.

Screenprint Process

With an exceptionally small run of just 20 impressions, this rare woodcut represents a highly exclusive alternative to the artist's more common screenprint releases. The physical woodblock carving technique imbues the lines with a deep, debossed texture and rich ink saturation that contrasts beautifully with the smooth wove paper. This tactile relief quality offers a distinct material weight, differentiating it from a standard flat screenprint or digital edition.

Utilising traditional relief printing methods allows the organic grain of the woodblock to subtly influence the final transfer of rich black ink. This deliberate embrace of natural imperfections mimics the spontaneous ink flow found in a classic David Shrigley limited edition print, whilst retaining a distinct artisanal quality. Published in 2005, the production of this series was carefully overseen by Stephen Friedman Gallery to ensure each impression captured the stark, immediate contrast of the hand-cut block.

Collectability

The demand for early graphic works by the artist remains remarkably high, fueled by continued collector interest in his rarest historical releases. Unlike his widely distributed modern posters, these scarce hand-signed prints from the mid-2000s represent the cornerstone of serious collections. Their presence in major institutional exhibitions has solidified their status as highly desirable acquisitions.

Representing a key work from his celebrated institutional period, this piece remains a particularly desirable example of his printmaking practice. Due to the incredibly small edition size of only 20 copies, finding examples of Web on the secondary market is an exceptionally uncommon occurrence. This scarcity, combined with the work's timeless graphic appeal, ensures it remains a focal point of scholarly and market attention.