37

DAMIEN HIRST (b. 1965) UNTITLED yellow gloss household paint (honeycomb) and butterflies on canva...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:200,000.00 - 250,000.00 USD
DAMIEN HIRST (b. 1965) UNTITLED yellow gloss household paint (honeycomb) and butterflies on canva...
DAMIEN HIRST
(b. 1965)
UNTITLED
yellow gloss household paint (honeycomb) and butterflies
on canvas
42 x 48 in. (106.7 x 121.9 cm)
executed in 2000
ESTIMATE: $200,000-250,000
PROVENANCE
White Cube, London
Damien Hirst creates iconoclastic works in which he obsessively recasts the fundamental questions concerning the meaning of life, the inevitability of death and the utter fascination with life's predestined cycles. From sheep, pigs and sharks preserved in formaldehyde to medicine boxes lined
on shelves, and spot paintings representing pharmaceutical drugs, Hirst's series of exquisite monochromatic, vivid canvases bursting with gorgeous butterfly configurations further expands upon his obsession with issues
of life and death.
Traditionally a symbol of resurrection in Renaissance painting, as well as a creature of legendary beauty throughout many cultures and eras, it is the metamorphosis of the butterfly, from cocoon to elegantly delicate creature destined to fly away, which is laden with symbolic potential. It is their fragility and vulnerability, as well as their obvious ephemerality, which makes their survival in the world something of a miracle. And thus it is no surprise why Hirst chose this creature to further elaborate upon his fascination, as he explains, "You need to find universal triggers, everyone's frightened of glass, everyone's frightened of sharks, everyone loves butterflies" (R. Violette and D. Hirst, I WANT TO SPEND THE REST OF MY LIFE EVERYWHERE, WITH EVERYONE, ONE TO ONE, ALWAYS FOREVER, LONDON, 1997, p. 132). Hirst's Untitled, 2000, triggers questions and considerations of one's own mortality in a way that is free from the constraints of maudlin expressionism.
Completed in 2000, the series from which Hirst's Untitled was later created, originated from his 1991 installation In and Out of Love. In a London space, a tropical rainforest was simulated to sustain the life of Malaysian butterflies, which hatched from pupae that were attached to white canvases-their life span from birth, growth, mating and laying eggs to dying all spent in the confines of the gallery. In another room, the beautiful but dead butterflies were attached to gloss paint on monochromatic canvases. Later, Hirst encircled these butterfly works with frames with glass surfaces. These function as both window and barrier, seducing the viewer into his canvases visually whilst providing a minimalist geometry to rigorously frame, contain and objectify the subject, thus avoiding sentimental expressionism. It is ultimately Hirst's way of getting the viewer to think about things they may not wish to think about.