Artist David Shrigley: 'Accepting an OBE doesn't mean supporting slave owners'

David Shrigley arrived slightly later than scheduled with some troubling news. The artist had just returned from the vet with Inka, his cherished 13-and-a-half-year-old black Schnauzer. My dog has heart disease, he shared, eliciting concerned reactions from his team. She needs medication. Her condition is worsening, but shes stable; shes not in immediate danger.

To manage Inkas treatment, which now includes a complex mix of medications, supplements, and special food, Shrigley has devised a new venture: attempting to sell an unusual art piece made entirely from old rope. I spent nine months gathering discarded rope, he explains.

The 57-year-old artist, renowned for his subtly subversive greeting cards and prints and an OBE recipient in 2020, has transformed a central London gallery with his latest work: four heaps of rope destined for disposalfrom ship mooring lines and lobster traps to scaffolding ropes and climbing school remnantstotaling ten tons. The exhibition is titled Exhibition of Old Rope.

In a departure from typical private gallery exhibitions, Shrigley has attached a public price tag of 1 million to the installation. The work challenges the notion of value, drawing attention to the disparity between price and meaning in contemporary art. To source the rope, Shrigley and his team traveled across the UK, collecting materials from fishermen, tree surgeons, and other sources. Some ropes even carried the aroma of marine life, leading the gallery to fill the space with the scent of bleached jute.

Shrigley hopes the piece might be acquired by a major bank, as public museums are unlikely to invest heavily in what is essentially a pun-based artwork. He notes that if displayed publicly, structural support would likely be required, along with protective barriers around the installation.

Discussing the work, Shrigley emphasizes that while it contains humor, the joke is largely on himself. I spent months collecting and arranging this rope in a commercial gallery, showcasing something inherently unsellable, he admits. His aim is to spark a conversation about value versus price. Arts worth isnt only monetary. The experience of engaging with artvisiting museums, contemplating works freelyis immensely valuable, he says.

Reflecting on his career, Shrigley, a naturally reserved yet engaging figure standing at 6ft 5in, recalls growing up in Leicestershire, studying at Glasgow School of Art, and being a contemporary of the Young British Artists, though never a core member due to his shy nature. He critiques the current underfunding of art education and institutions, noting that young artists face immense financial pressures post-graduation.

Despite these challenges, Shrigley champions art as vital to society. He has contributed to community projects like the Sidmouth School of Art in Devon, which promotes well-being through creative activities. He remains active in commercial art, producing playful items like greeting cards, mugs, and novelty objects, which help fund his more conceptual work. His large-scale projects include a unique printing of 1,250 copies of George Orwells 1984 created by pulping thousands of copies of Dan Browns The Da Vinci Code.

Acclaimed and widely recognized, Shrigley was shortlisted for the Turner Prize in 2013 and continues to exhibit internationally. Though he has received an OBE, he reflects critically on the historical connotations of the award, emphasizing his desire to make a positive impact through his art rather than personal accolades.

Exhibition of Old Rope is on view at the Stephen Friedman Gallery, London W1, until December 20. Shrigleys other exhibition, What the Hell Was I Thinking?, runs at Kunsthal Rotterdam from December 13 to May 3.

Context and Commentary on David Shrigley's Latest Exhibition

David Shrigley’s latest exhibition, "Exhibition of Old Rope," offers more than just an unusual art installation; it invites reflection on the very essence of art and its value. The artist’s decision to exhibit ten tons of discarded rope with a £1 million price tag pushes boundaries by questioning the relationship between price, value, and meaning in contemporary art.

The installation, composed of materials sourced from various industries across the UK, challenges traditional notions of art’s marketability. While the ropes have little intrinsic monetary value, the exhibition highlights the artist’s subversive commentary on the commercialization of art. Shrigley’s humorous approach — using a discarded material for a highly priced piece — effectively emphasizes the absurdity of monetary worth in art. It’s a clever statement on how the art world often places importance on factors other than the art itself.

Furthermore, Shrigley’s reflections on the pressures faced by young artists today provide an important context for his work. His criticism of underfunded art education and institutions underscores the financial struggles emerging artists face. Through his community contributions and accessible commercial art, Shrigley continues to push for a broader appreciation of art’s value beyond the commercial sphere.

The artist’s personal challenges, including the ongoing health issues of his dog, Inka, add a layer of poignancy to his exhibition. This situation reveals a more vulnerable side of Shrigley, whose works often balance humor with deeper social commentary. Ultimately, “Exhibition of Old Rope” serves as both a critique of the art world and a personal reflection on value, resilience, and the evolving role of art in society.

Sources:

• Artist David Shrigley: ‘You don’t have to pledge allegiance to slave owners to accept an OBE’