Martin Creed, ‘Work No. 2852’, 2017, Richard Levy Gallery

This new print by Martin Creed follows his conceptually constrained methodologies. Respecting things for the way they are, Creed engages in minimal interventions. The marks made for each color 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 colors were selected the printers followed a random plan of sequencing how the different colors would be used in each print, creating 100 prints which are all unique.

Signature: signed, numbered, and dated on back numbered 92/100 - edition of unique screen prints

About Martin Creed

Merging art and life, Martin Creed uses ordinary materials and everyday situations to create multimedia works that have confounded and delighted viewers and critics for nearly 30 years. He rejects the term “conceptual” and calls himself an “expressionist,” referring to his notion that all art stems from feeling. His works run the gamut from deadpan, minimalist interventions to rapidly rendered, expressionistic portraits. He approaches art making with humor, anxiety, and experimentation, and with the sensibility of a musician and composer, underpinning everything he does with his open ambiguity about what art is. In 2001, he was awarded the Turner Prize for Work No 227: The Lights Going On and Off, which was exactly what its title describes, in an empty gallery. As Creed maintains: “Anything is art that is used as art by people.”

English, b. 1968, Wakefield, United Kingdom, based in London, United Kingdom