Hirst
Damien


Works

Esculetin


18 1/2’’ x 22’’, Ed.55

Gly-Gly-Ala


42 3/8’’ x 34’’, Ed.55

Lactulose


26 1/2’’ x 30 1/8’’, Ed.55

Proctolin


29 7/8’’ x 37 3/8’’, Ed.150

Gold Tears


34’’ x 28’’, Ed. 55

Love Poems - Longing


30 11/16’’ x 29 7/8’’. Ed. 55

Love Poems - Lullaby


30 11/16’’ x 29 7/8’’, Ed. 55

Love Poems - She Walks in Beauty


30 11/16’’ x 29 7/8’’, Ed. 55

For the Love of God - Lenticular


23’’ x 15 3/4’’, Ed.5000

Regeneration


18 1/2’’ x 15 3/8’’, Ed.45

The Souls II (Turquoise - Silver Gloss - Oriental Gold)


28 3/8’’ x 20 1/8’’, Ed.15

The Souls IV (Fuchsia Pink - Raven Black)


28 3/8’’ x 20 1/8’’, Ed.15

The Souls IV (Oriental Gold - Silver Gloss - Leaf Green)


28 3/8’’ x 20 1/8’’, Ed.15


Biography

Born in 1965 in Bristol, England, Hirst emerged onto the international art scene in the late 1980s. Since then, he has created installations, sculptures, paintings, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. From serialized paintings of multicolored spots to animal specimens preserved in tanks of formaldehyde, his work challenges contemporary belief systems, tracing the uncertainties that lie at the heart of human experience.

In 1988, while studying at Goldsmiths College in London, Hirst curated Freeze, a rolling exhibition in three parts, featuring his work and that of fellow students. This show is considered the debut of the artists who would come to be known as the Young British Artists, or YBAs, whose approach was characterized by a combination of entrepreneurial and oppositional attitudes, the use of found materials, and an interest in shock and spectacle.

Like many of Hirst’s series, the spot paintings evoke various psychological and perceptual dichotomies: they are both calming and unnerving, beautiful and ordinary. A subseries, the Pharmaceutical paintings (1986–2011), features evenly spaced, multicolored circles. The title links these works to the medicine cabinets (1988–2012) and Visual Candy paintings (1993–95), all of which consider the cultural role of prescription drugs, the ways they are advertised, and the many promises that are made to their consumers.

In 1991 Hirst created The Physical Impossibility of Death in the Mind of Someone Living: a fourteen-foot tiger shark preserved in a tank of formaldehyde. This work, part of the Natural History series (1991–2013), has become a landmark of contemporary art and exemplifies Hirst’s interest in bridging the gap between art and science.

Damien Hirst works are collected throughout the world in private, public and corporate collections.

Download the artist biography