Chris Ofili - R.I.P. Stephen Lawrence

Chris Ofili’s R.I.P. Stephen Lawrence 1974–1993 (2013) is a poignant lithograph with photoluminescent silkscreen that pays tribute to Stephen Lawrence, the Black British teenager whose racially motivated murder in 1993 became a defining moment in British social and political history. The work references Ofili’s landmark painting No Woman, No Cry (1998), where the text “R.I.P. Stephen Lawrence 1974–1993” is revealed under low light, symbolizing remembrance and the endurance of memory.

Measuring 45 x 35.6 cm, the print is part of a limited edition of 100, each accompanied by a certificate of authenticity and hand-signed by the artist. A rare and historically significant edition, it embodies Ofili’s powerful fusion of personal sorrow, social critique, and visual poetry.

“The vicious murder of Stephen Lawrence in 1993 and the pain and suffering of Doreen Lawrence and her family has had a dramatic effect on British life. The painting ‘No Woman, No Cry’, the image of the weeping woman, has always been my way to bring to the surface a sense of sorrow and loss. The painting also has another layer where the text, ‘R.I.P. Stephen Lawrence 1974 – 1993’, is spelled out but is only visible when viewing the painting in lowlight to signify an everlasting life. The recent conviction of two of the murderers was a bittersweet relief but the struggle with institutional racism in British life, highlighted in the Macpherson report, still continues.” – Chris Ofili

Chris Ofili, a Nigerian British artist, emerged as a pivotal figure among the Young British Artists (YBAs) and gained notable recognition by winning the Turner Prize in 1998. As one of the few African/Caribbean artists in the YBAs, Ofili’s artwork creatively merges elements of high art and popular culture to explore the historical and cultural experiences of black individuals. Known for his vibrant use of color and diverse textures, the painter often incorporates unconventional materials into his paintings, most famously elephant dung. This distinctive practice, which has stirred controversy, serves as both a literal and symbolic connection to the earth, grounding his artworks in natural elements. Chris Ofili’s approach involves affixing lumps of dung directly to the canvas, which he believes lends a relaxed, almost unburdened quality to the paintings, contrasting with the traditional, constrained presentation of artworks on walls. He explains that this method makes the paintings feel “more relaxed, instead of being pinned upon the wall like it’s being crucified.” Beyond this unique material use, his signature works are intricate, layer upon layer of paint with added textures from collaged materials like glitter, magazine cut-outs, and resin, which add depth and complexity. Ofili’s artworks, including fine art prints and paintings, showcase his unique stylistic synthesis that blends figurative abstraction with thematic richness, reflecting a deep engagement with his cultural heritage and contemporary issues. His oeuvre continues to influence and shape the landscape of modern art, inviting viewers to reconsider the interplay of identity, culture, and materiality in art. Over the past two decades, Chris Ofili has exhibited in many international institutions. After representing Britain at the 50th Venice Biennale in 2003, a group of Ofili’s paintings was included the 56th International Art Exhibition of the Venice Biennale in 2015, curated by Okwui Enwezor. Further major solo exhibitions were held at Tate Britain, London, in 2010, the New Museum, New York, in 2014 and the Aspen Art Museum in Colorado in 2015. Chris Ofili was born 1968 in Manchester and currently lives in Trinidad and Tobago.