“We are embarking on a fascinating artistic endeavor,” shares acclaimed artist David Shrigley, as he explains to a curious Andy Murray the concept of the exquisite corpse. This artistic game, popularized by French surrealists almost a century ago, involves participants taking turns to draw different body parts on a folded piece of paper. For Murray, a two-time Wimbledon champion whose childhood was consumed by tennis rather than drawing, this game is a novel experience. However, Shrigley and Murray share a connection through their Scottish roots, with Shrigley having lived in Glasgow for 27 years after attending the esteemed School of Art, while Murray hails from Dunblane, just three miles away. Being mutual admirers, it’s no surprise that Shrigley’s artwork can be found adorning the walls of Murray’s hotel, Cromlix, where they have come together to walk, talk, and indulge in some creative doodling.
Surprisingly, Murray is now the proud owner of Cromlix, a 15-bedroom property nestled in the idyllic Stirlingshire countryside. His decision to purchase this estate was driven by sentiment and the desire to save it from being acquired by someone who would never appreciate its charm, as Murray explains, “Despite everyone advising me against it.” Cromlix holds great significance in Murray’s family history, with various celebrations marking important milestones over the years. It served as the venue for his grandparents’ silver-wedding anniversary in 1981, as well as his own wedding reception and his brother’s wedding ceremony. In recent years, Murray’s wife, Kim, has overseen the hotel’s refurbishment, infusing it with their personal tastes and integrating art throughout the property. The art collection at Cromlix includes loans from the Royal Scottish Academy and pieces from the couple’s own collection. Shrigley’s vibrant animal screen prints take center stage in the entrance hall, offering visitors an accessible introduction to contemporary art.
Contemplating his own art, Shrigley muses on the whimsical nature of his work, admitting that he often forgets his creations due to the sheer volume of his output. Known for his simplistic and cartoonish style, he employs various mediums such as drawings, paintings, sculptures, and installations to offer commentary on the mundane aspects of life. Shrigley collaborates with London’s Jealous Gallery and greatly appreciates the screen-making process, which allows for faithful replication of his brushstrokes and textures. The distinction between the original artwork and prints is often discernible only through touch.
Murray’s fascination with Shrigley’s art began when he encountered an image of Inka, the artist’s beloved schnauzer, with a red ball, accompanied by the caption, “His relationship with the ball is more complicated than it first appears.” This piece resonated with Murray, who decided to acquire it and prominently display it near his bedroom. Inka also inspired one of Shrigley’s recent projects, the Mayfair Tennis Ball Exchange, which featured over 12,000 pristine tennis balls meticulously arranged on shelves at the Stephen Friedman Gallery. The concept was for visitors to exchange their used tennis balls for new ones, but the public surprised Shrigley by turning it into an art exhibition through their creative additions to the balls. This unexpected response from the public reinforced the unpredictability of artistic endeavors.
Looking to the future, Murray expresses his admiration for the Australian Open and his fondness for Melbourne, eagerly anticipating the next installment of the Tennis Ball Exchange at the National Gallery of Victoria in January 2024.
Murray’s initial attraction to Shrigley’s art stemmed from its playful nature, which led to his own failed attempt at creating art. Acknowledging the complexities of the artistic process, Murray gained a newfound appreciation and knowledge of contemporary art. His art collection spans a range of artists, from Banksy to Maggi Hambling, reflecting his contemporary taste.
As the conversation flows in the comfortable drawing room at Cromlix, Murray shares his recent experience of disappointment at Wimbledon and contemplates the future of his tennis career. Meanwhile, Shrigley discusses his typical working day, which consists of eight hours of drawing and a leisurely walk with his dog, illustrating the ordinary rhythm of an artist’s life.
With an amusing mixture of excitement and trepidation, Shrigley and Murray finally engage in the exquisite corpse drawing exercise. Shrigley confidently wields his pen, while Murray nervously struggles with scale, inadvertently creating a tennis racket that appears smaller than the adjacent ball. The reveal of their collaborative creation leaves no doubt as to who created each section, as they both sign their respective parts.
Returning to their shared love of collecting, Shrigley playfully mentions his desire to acquire a Philip Guston artwork, albeit with some difficulty justifying the expense to his wife. Murray humorously adds that he managed to secure a racket from Roger Federer’s last match, proving his dedication to collecting art.
As their time together comes to an end, Shrigley and Murray reflect on the joy of collecting and the unpredictability of the public’s response to art. Ultimately, their shared passion for art has forged a unique bond and led to creative collaborations that transcend the worlds of tennis and contemporary art.
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