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Part of the joy of doing it is the therapeutic thing: I guess I’m quite an anxious person at different times. Whilst I say I’m a pretty happy person, I’m also an introvert, and introverts often tend to be quite anxious, I think. I worry about stuff – I worry that I’ve upset people and I worry about things that are irrational. So I guess that’s the thing that I grapple with in my life, in terms of my emotional makeup, that’s something I have to deal with. I mean, I’m not a depressed person, but I think I am quite an anxious person. And a lot of the work just has this insane anxiety about it.” The narrative of the project was one that occurred by accident, he said, but a number of odd things had happened. Shrigley’s Really Good, installed on the fourth plinth in London’s Trafalgar Square in September 2016. Photograph: David Levene/The Guardian Shrigley has created a variety of large-scale installations and sculptural pieces during his career, including, perhaps most famously, Really Good. The work—a distended hand making an exaggerated thumbs up symbol—won the prestigious Fourth Plinth commission in Trafalgar Square, erected in 2016 as a sardonic comment on the recent Brexit decision. Once more he sounds utterly astounded by this endlessly confusing, utterly unknowable thing he’s devoted his life to. “It was just so exciting to find out that art is … actually good for people.”
Yet the art world loves him too. He was shortlisted for the Turner prize in 2013, causing perhaps the competition’s last real scandal, with a naked urinating statue. He says the art school put a lot of emphasis on traditional craft, which reminds me that the Guardian once said Shrigley “would win few prizes for drawing, and even fewer for his handwriting” – does he agree with that? In 2006, Shrigley's first spoken word album Shrigley Forced to Speak With Others was released by Azuli Records, under their Late Night Tales label. [41] [42]
The reason he now “delegates” the selection of his art for books or exhibitions is, he says, that his own choice never seemed to match what people want: “The gallery would send me an inventory of all the works that were unsold and I would look at them and think: ‘I can’t believe that that painting didn’t sell. I can’t believe that that one didn’t sell … That’s brilliant, that one!’ Things that were just perfect, that represented everything I wanted to say about my existence – and the meaning, and irony thereof. But did anybody agree with me? No. No. They just wanted the ones of the cat.” Shrigley Forced To Speak With Others – Shrigley Forced To Speak With Others". Discogs . Retrieved 30 January 2016. Shrigley, regarded as one of the UK’s most consistently funny and perceptive visual artists, came up with the idea after seeing newspaper reports in 2017 about a charity shop pleading for no more copies of the wildly popular Dan Brown novel.
LateNightTales: David Shrigely". latenighttales.co.uk. Archived from the original on 6 October 2016 . Retrieved 6 October 2016. For Shrigley the drawings that he likes best are the ones that surprise or confuse him. “Where I think ‘It’s kind of funny, but I don’t know what it means … so I’ll just put it out there and figure it out.” Whilst Shrigley claims that one’s response to his work is always correct, “whatever that may be or whatever my intention was”, his installation work and sculptures often carry an alternate meaning.Despite his success with the highly collectable and instantly recognisable satirical drawings, Shrigley also works across other mediums including sculpture, animation, photography, large-scale installations and music. Jones, Jonathan (29 September 2016). "Thumbs up to David Shrigley's fabulously feel-bad fourth plinth". The Guardian. London . Retrieved 5 October 2016. Turner prize 2013: who gets your vote? | Art and design | theguardian.com". theguardian.com. 2013 . Retrieved 2 December 2013.
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