Repetition Variation Evolution
Repetition Variation Evolution
Signed Print
Invader
£4,850-£7,000
$9,500-$14,000 Value Indicator
$8,500-$12,500 Value Indicator
¥45,000-¥60,000 Value Indicator
€6,000-€8,500 Value Indicator
$45,000-$70,000 Value Indicator
¥930,000-¥1,350,000 Value Indicator
$6,000-$8,500 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 150
Year: 2017
Size: H 68cm x W 88cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2023 | Tate Ward Auctions | United Kingdom | |||
| May 2023 | Artcurial | France | |||
| November 2022 | Digard | France | |||
| July 2022 | Tate Ward Auctions | United Kingdom | |||
| August 2020 | Christie's New York | United States | |||
| March 2020 | Tate Ward Auctions | United Kingdom | |||
| December 2019 | Tate Ward Auctions | United Kingdom |
Meaning & Analysis
This signed screen print from 2017 is a limited edition of 150 from Invader’s Hello My Game Is collection of works. The print shows six horizontal rows of the famous Space Invader characters, each row containing another six characters for a total of thirty-six black Space Invaders on a white squared background that is reminiscent of children’s notebooks.
The print was produced in 2017 in conjunction with Invader’s exhibition Hello My Game Is at the Musée en Herbe in Paris, where it was hung with other drawings on paper made by the artist in previous years – see Sea Of Slime or Explosion.
If, at first, it may seem like the drawings repeated are identical to one another, a closer inspection of the print reveals the singularity and specificity of each character, which seemingly emulates the preceding one but also always adds some new element to the formal composition.
Art critic and Invader collector Jean Marc Avrilla considers the print to be amongst the most exemplary of Invader’s engagement with the Taito Japanese video game, and states that the print should be understood as a manifesto of Invader’s work process, whereby small modifications of a basic character create a multiplicity of images that the artist decontextualises and disseminates across different cities, ‘pointing to the quantity and multiplicity of his idea.’
