29.88 x 37.34 Inches
Edition of 150
Histidyl by Damien Hirst
Hirst explains that, ” mathematically, with the spot works, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where color can exist on its own,interacting with colors in a perfect format”.
Histidyl by Damien Hirst
“To create that structure, to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.”
The spot prints are amongst Hirst’s most widely recognized works. Of the thirteen sub-series within the spots category, the ‘Pharmaceutical’ paintings are the first and most prolific.
The random and infinite color series within the ‘Pharmaceutical’ paintings is integral to the works. Hirst explains that, “mathematically, with the spot paintings, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where color can exist on its own, interacting with other colors in a perfect format.” Any problems he had previously had with color, Hirst claims, were removed by the perfect arrangement of complimentary, yet never repeated, colors in the spots.
Damien Hirst was born in 1965 in Bristol and grew up in Leeds. In 1984 he moved to London, where he worked in construction before studying for a BA in Fine Art at Goldsmiths college from 1986 to 1989. He was awarded the Turner Prize in 1995
Since the late 1980’s, Hirst has used a varied practice of installation, sculpture, painting and drawing to explore the complex relationship between art, life and death. Explaining: “Art’s about life and it can’t really be about anything else … there isn’t anything else,” Hirst’s work investigates and challenges contemporary belief systems, and dissects the tensions and uncertainties at the heart of human experience. At Goldsmiths, Hirst’s understanding of the distinction between painting and sculpture changed significantly, and he began work on some of his most important series. The ‘Medicine Cabinets’ created in his second year combined the aesthetics of minimalism with Hirst’s observation that, “science is the new religion for many people. It’s as simple and as complicated as that really.” This is one of his most enduring themes, and was most powerfully manifested in the installation work, ‘Pharmacy’ (1992).
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