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Sarah Morris - Marcel Gem [Clips] - 1
Sarah Morris - Marcel Gem [Clips] - 2
Sarah Morris - Marcel Gem [Clips] - 3
Sarah Morris - Marcel Gem [Clips] - 4
Sarah Morris - Marcel Gem [Clips] - 5

Sarah Morris Marcel Gem [Clips] 2012

Price: £1,200

Edition of 60
Silkscreen on Somerset paper
60 x 60 cm | 23 5/8 x 23 5/8 in.
Signed and numbered
Published by White Cube, 2011

• The image of the artwork shows a proof, not the final edition, and each edition may vary slightly from this image.
• The purchase price is inclusive of VAT. If VAT is not applicable to the sale, any VAT added to the price will be deducted upon confirmation of the delivery address at check-out and prior to you making payment.
• International orders may be subject to additional local taxes or import duties.
• Sales are strictly limited to one edition per household.
• The edition number will be allocated at the point of sale.
• Editions cannot be resold to a third party for a period of five years.
• White Cube reserves the right to cancel or refund orders for any reason.
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• This edition is sold unframed.
• Collection is possible for this edition at White Cube Bermondsey. This option will appear at checkout.
• All editions are packaged to the highest standards, managed at our warehouse using archival materials.
• Shipping charges are additional and will be calculated at checkout.
• We aim to dispatch editions within two weeks of purchase, unless the edition has not yet been fabricated.
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• Shipping times are as follows:
United Kingdom: 1–2 weeks
International: 2–4 weeks (subject to customs clearance)

This print by Sarah Morris belongs to the wider series ‘Clips’ (2009–11) that saw the artist extend her inquiry into how power is mapped onto urban environments, looking at office stationery specifically.

Exploring the paths of workflow and consumption we are all caught up in, the artist represents the simple paperclip as an instrument of social control. Tracing endless histories of storage and archiving, the paperclip’s looping structure signifies a hidden mode of domination for Morris. She sees the object in relation to the ‘no way out’ formation of bureaucratic systems, where we are ensnared in a constantly regenerating scheme of self-organisation.

Repeated in overlapping patterns and distinguished in multiple corporate colours, the paperclip is represented as an attempt to mask real power through surface seduction. What should be a simple, standard office tool becomes, in Morris’s hands, something altogether more sinister.

Sarah Morris

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