Damien Hirst: Art, Death & Decay

Hirst's work stands out as a testament to the ability of contemporary art to evoke powerful emotions, stimulate debate and challenge societal norms.

His artworks are not just visual spectacles; they pose profound philosophical questions. What does it mean to be alive? How do we confront the inevitability of death?

Born in 1965 in Bristol, England, Hirst was raised in a working-class family. He first showed an interest in art during his teenage years and later studied at Goldsmiths College in London. These years laid the foundation for his distinctive style; influenced early on by movements such as minimalism and conceptual art, Hirst began exploring the relationships between art, science and popular culture. The juxtaposition of these fields would form a cornerstone of his practice.

It was during his time at Goldsmiths that Hirst gained notoriety as a key member of the Young British Artists (YBAs) group in the early 1990s. In 1988, Hirst organised a groundbreaking exhibition called Freeze, which showcased the work of several emerging artists, including his own. This show was a turning point for Hirst and the YBAs, as it garnered the attention of influential art collector Charles Saatchi. With Saatchi's patronage, Hirst's career took off, and he quickly became a leading figure in the contemporary art world. He was first nominated for a Turner Prize in 1992, and won it in 1995 for the work Mother and Child, Divided.

Although his work spans various media, including painting, sculpture and installation art, he is perhaps best known for his series of preserved animal specimens suspended in formaldehyde, which have become emblematic of his artistic vision.

Hirst's fascination with death and decay can be traced back to his childhood, during which he often visited a local anatomy museum. As an artist, Hirst has drawn on this early exposure to scientific and anatomical specimens to create works that confront themes of mortality, decay, and the human condition.

Many of Hirst's pieces are akin to museum displays or laboratory setups, reflecting his fascination with scientific processes and methods. His famous series utilising animals challenges our perceptions of life, death and preservation. By placing dead animals such as butterflies within the sterile confines of glass and steel, Hirst forces the viewer to confront these issues head-on, blurring the lines between nature and artifice, life and afterlife.

Preserved animals in formaldehyde, such as his iconic shark piece The Physical Impossibility Of Death In The Mind Of Someone Living (1991), challenge viewers to confront the cruelty of nature and the capitalist sublime, as well as their own mortality and the ephemerality of life. Hirst's art also delves into philosophical questions about the character of existence and the boundaries between life and death.

In addition to his preserved animal installations, Hirst has created other works that explore themes of death and decay. His Pharmacy series (1992) consists of medicine cabinets filled with pharmaceuticals, a commentary on humanity's desire for eternal life and the limitations of medical science. Hirst's For The Love Of God (2007), a platinum cast of a human skull encrusted with diamonds and the most expensive work ever created by a living artist, further exemplifies his preoccupation with death and the desire for immortality at any cost.

You can explore more of Hirst’s most famous works here.

Throughout his career, Hirst's work has been met with both acclaim and criticism. Supporters argue that his art forces viewers to confront uncomfortable truths about death, while critics claim his use of animal carcasses is cruel and sensationalist. Animal rights activists and organisations in particular have strongly criticised Hirst, arguing that his use of animals for art is exploitative and inhuman. Such critiques intensified with pieces like In and Out of Love, where live butterflies were used, many of which died during the exhibit. While Hirst has maintained that he sources animals ethically and often uses creatures that are already dead, these justifications have not assuaged all his critics.

Additionally, Hirst has faced accusations of plagiarism and questions about the role of assistants in creating his work, further fueling debate about his artistic credibility. In 2013, it was reported that he only personally painted 25 out of the more than 1,400 existent spot paintings, with the rest being all carried out by his assistants and yet carrying his signature.

Controversy has also arisen from the high prices Hirst's art commands in the market, and questions of transparency about the fate of some of his works. For example, in 2007 it was reported that For the Love of God sold for £50 million – but Hirst has recently declared it still lives in a vault, having apparently never been sold. Some critics further argue that the exorbitant sums paid for his works have distorted the contemporary art world, turning it into a playground for the wealthy rather than a space for genuine artistic expression.

Hirst's installations often incorporate powerful symbols and motifs that aim to provoke emotional responses and inspire reflection on the ephemerality of life, the immutability of death, and the human experience. For instance, his use of butterflies as a symbol of transformation and regeneration in works like In and Out of Love and his Kaleidoscope series adds a layer of depth to the already rich thematic content of his art.

His art often relies on juxtaposition, presenting contrasting ideas to provoke thought and spark conversation. Traditional elements of beauty, such as butterflies and diamonds, are laid alongside macabre ideas of death and decay such as carcasses and skulls. Other recurring motifs in Hirst's work include pills, cigarettes and religious iconography, all of which contribute to the exploration of mortality, human connection and spirituality.

Almost from the start of his career, Hirst has been at the forefront of the art world. He has been instrumental in promoting other artists that have become similarly influential, and acting as a leader within the YBA group. His work has continuously had a profound influence on contemporary art, pushing the boundaries of artistic expression and challenging viewers to reconsider their own beliefs about life, death and the very nature of existence.

Beyond the realm of fine art, Hirst's influence can be seen in various aspects of popular culture, from fashion and design to music and film. He is considered a master at marketing himself and his art, with his methods becoming hugely influential for other artists. His provocative and often shocking imagery has become part of the visual lexicon of the past 40 years, known for reflecting the anxieties and preoccupations of our era. More than anything, Hirst's career serves as an example of the power of art to generate conversation and debate, both within the art world and beyond its confines. His work has provoked important discussions about the role of art in society, the ethics of using animal remains in artistic practice and the relationship between art and commerce.

Despite the controversies and criticism, Damien Hirst's art continues to captivate audiences and the art market worldwide. His exploration of death, decay and the human condition resonates with viewers, serving as a stark reminder of our own mortality and the impermanence of life. Hirst's unique perspective and unflinching examination of these themes ensure that his work will continue to be relevant and influential for years to come.

In the ever-changing landscape of contemporary art, Hirst's controversial creations will undoubtedly continue to spark debate, challenge conventional notions of art and inspire future generations of artists to push the boundaries of creative expression.

Hirst's ability to provoke, shock and engage has ensured his place in the annals of art history. Whether one sees him as a provocateur, a genius, or both, there's no denying the mark Hirst has made on the cultural landscape of our times.