Bold Red Art for Your Home
Original aquatint printed in 180 colors on 350 gsm Hahnemühle wove etching paper
Hand-signed in pencil in the margin lower right Damien Hirst.
A superb impression of the definitive state, from the edition of 65, numbered in pencil verso (there were 20 additional artist’s proofs, for an overall edition of 85). Published by The Paragon Press, London; printed by Peter Kosowicz at Thumbprint Editions Ltd., London.
Sheet Size: 46 5/8 x 39 1/8 inches
In excellent condition, with bright, fresh colors, printed on a full sheet.
Literature regarding this artwork: Etienne Lullin & Floiran Simm, Contemporary Art in Print: The Publications of Charles-Booth Clibborn and his Imprint: The Paragon Press, The Paragon Press, London, 2007, pp. 258-261.
The title for this print derives from chemical compounds, which are not toxic, but rather indicators and markers for the tracking of substances. "Ethidium bromide aqueous solution" is suitable for use in DNA isolation procedures and in electrophoresis. When exposed to ultraviolet light, it will fluoresce with a red-orange color, intensifying almost twenty-fold after binding DNA. First exhibited in 1988, the “Spot” works, also known as the “Pharmaceutical Paintings” have become one of the art world’s most recognizable, classic images and they define the way much of our culture views contemporary and conceptual art. Initially conceived as a scientific approach to painting much like the drug companies’ scientific approach to life. As the series evolved, Hirst began to discover an intriguing link between painting, and psychological mood.
“If you look closely at one of these [works] a strange thing happens, because of the lack of repeated colors there is no harmony. We are used to picking out chords of the same color and balancing them with different chords of other colors to create meaning. This can’t happen. So, in every work there is a subliminal sense of unease; yet the colors project so much joy it’s hard to feel it, but it’s there.”
Thus, if color can control mood, then surely it can be as effective as medicine to cure the ills of life and prolong the cycle between life and death. As he has famously stated:
“Art is like medicine – it can heal. Yet I’ve always been amazed at how many believe in medicine but don’t believe in art, without questioning either.”
Damien Hirst first came to public attention in London in 1988 when he conceived and curated "Freeze," an exhibition in a disused warehouse that showed his work and that of his friends and fellow students at Goldsmiths College. In the nearly quarter of a century since that pivotal show (which would come to define the Young British Artists), Hirst has become one of the most influential artists of his generation. His groundbreaking works include The Physical Impossibility of Death in the Mind of Someone Living (1991), a shark in formaldehyde; Mother and Child Divided (1993) a four-part sculpture of a bisected cow and calf; and For the Love of God (2007), a human skull studded with 8,601 diamonds. In addition to his installations and sculptures, Hirst’s Spot paintings and Butterfly paintings have become universally recognized.
British, b. 1965, Bristol, United Kingdom, based in London, United Kingdom
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