Polyurethane resin with ink pigment
0.63 x 3.5 x 3.5 Inches
Edition of 30
Valium 10MG Roche (Yellow) by Damien Hirst
“Pills are a brilliant little form, better than any minimalist art. They’re all designed to make you buy them… they come out of flowers, plants, things from the ground, and they make you feel good, you know, to just have a pill, to feel beauty.” – Damien Hirst
Predominantly based upon the minimalist aesthetic of the medicinal pill, the works on display act as a continuation of Hirst’s life-long investigation into our almost-spiritual relationship with the rigours of science and the pharmaceutical industry.
Valium 10MG Roche (Yellow) by Damien Hirst
Predominantly based upon the minimalist aesthetic of the medicinal pill, the works on display act as a continuation of Hirst’s life-long investigation into our almost-spiritual relationship with the rigors of science and the pharmaceutical industry.
Sculptures of medicine bottles, pharmaceutical boxes, ampoules, syringes, a scalpel, and drug packaging that all play with concepts of scale – the tallest measuring nearly one and a half meters – combine to form an Alice in Wonderland playground of pharmaceuticals which further Hirst’s enduring exploration of contemporary belief systems; religion, love, art and medicine. The manipulation of scale, is just one of the techniques employed by the artist to analyze the confident aesthetic of the pharmaceutical industry.
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).
Whilst in his second year, Hirst conceived and curated ‘Freeze’ – a group exhibition in three phases. The exhibition of Goldsmiths students is commonly acknowledged to have been the launching point not only for Hirst, but for a generation of British artists. For its final phase he painted two series of coloured spots on to the warehouse walls. Hirst describes the spot paintings as a means of “pinning down the joy of colour”, and explains they provided a solution to all problems he’d previously had with colour. It has become one of the artist’s most prolific and recognizable series, and in January 2012 the works were exhibited in a show of unprecedented scale across eleven Gagosian Gallery locations worldwide. In 1991, Hirst began work on ‘Natural History’, arguably his most famous series. Through preserving creatures in minimalist steel and glass tanks filled with formaldehyde solution, he intended to create a “zoo of dead animals”. In 1992, the shark piece, ‘The Physical Impossibility of Death in the Mind of Someone Living’ (1991) was unveiled at the Saatchi Gallery’s ‘Young British Artists I’ exhibition. The shark, described by the artist as a “thing to describe a feeling”, remains one of the most iconic symbols of modern British art and popular culture in the 90’s. The series typifies Hirst’s interest in display mechanisms. The glass boxes he employs both in ‘Natural History’ works and in vitrines, such as ‘The Acquired Inability to Escape’ (1991), act to define the artwork’s space, whilst simultaneously commenting on the “fragility of existence”.
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