Martin Creed

Work No. 3167 (2018)

  • Edition of 100 unique prints
  • 28 colour screenprint on 410 gsm somerset radiant white paper. Produced by Counter Studios, Margate
  • 43 x 35.5 cm (15.7 x 13.7 in)
  • Signed, numbered, and dated by the artist
$3,000
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About the Edition
For the first print made at Counter Editions' new studios in Margate, Martin Creed selected 28 colours from a universal pallet of blues in a variety of finishes including varnished, matte, metallic, opaque and transparent. This series of 100 unique prints is inspired by the sea, the perfect edition to celebrate our new headquarters by the Kent seaside. The theme of water can also be seen in recent paintings of 'Bridges Under Water' (2018) currently on display in Creed's solo exhibition 'Toast' at Hauser & Wirth, London.

These new prints follow the artist's conceptually constrained methodologies. Respecting things for the way they are, Creed engages in minimal interventions. The marks made for each colour are the same width “the width of the brush“ and the various lengths of each mark based on single brush strokes with varying amounts of ink. This play with ideas of series and sequences, variation and repetition, is in Creed's case an end in itself, the seed or ingredient for making a picture and the picture itself: it's a system that rigorously abdicates the need for aesthetic decision-making. Once the palette of blues were selected the printers followed a random plan of sequencing how the different colours would be used in each print, creating 100 prints which are all unique.
About the Artist

In a visually saturated world, artists can be faced with seemingly endless possibilities and choices. In response, Martin Creed imposes simple rules on his creativity. He might create a painting using only paintbrushes bought in a multi-pack, or make only one mark a day with the same felt-tip pen until the whole paper surface is covered. Repetition, stacks, and intervals are familiar motifs in his work, along with ascending and descending structures.

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