From ‘Ten Risograph Prints’, 2022. Was nice to meet some you this weekend at Offprint. I’m shattered right now and writing this from a bench on the Thames but I’ll have a pop at explaining what this edition means to me. When I was about 5 or 6, my auntie Theresa would baby sit me for a few hours each night after school until my mum or Dad could clock off from their day job. In the hallway of her flat she had a museum retrospective style souvenir poster of Van Gogh’s Sunflowers. I can remember her telling me the story of his life and how he’d gone mad in the process of making his paintings. I’m not sure if it made sense completely but I can still remember the intensity of sitting there staring up at the frame. My brother and sister would watch cartoons on tv and instead my eyes would fixate on those swirly petals in a pop frame, half scared by the violence of his brushstrokes, wondering what his ear would of looked like. Anyway, whenever someone asks how or why I’m interested in art, I think about that poster. So I wanted to make some posters. Posters as prints. Made well that could hold their own amongst any other work out there, but also affordable and accessible, regardless of whether you’re a 14 old kid with a paper round or a gazillionaire who has a soft spot for photography. Just like how Warhol explained what made coca-cola so great. We all sip from the same bottle. And hopefully we can see these the same. The aim of art is to connect. Or that’s how I feel right now. So here’s my way of trying to keep it real and say hello. If you couldn’t make it to the Tate, Seven of the Ten prints are available on kingsleyifill.com (the publications section because I edited the website using an app a minute ago and it was too techy trying to put them into the Editions part). @offprint_projects @tate