Damien Hirst (1965) began his artistic career as an iconic member of the Young British Artists group, which gained global recognition thanks in large part to advertising mogul and gallery owner Charles Saatchi. Hirst became the foremost representative of this group, with Saatchi funding and supporting his career. In 2004, Saatchi sold Hirst’s tiger shark preserved in formaldehyde for 9.5 million euros, a hallmark piece of Hirst’s work that belongs to his *Natural History* series, which also includes his cabinets of fish preserved in formaldehyde. Through these works, Hirst juxtaposes a sense of permanence, achieved through scientific organization, with the ephemeral nature of life, a theme that resonates in his minimalist style with dissected cows and calves displayed at Tate Britain, which earned him the prestigious Turner Prize in 1995.
Hirst’s renowned *Spot paintings*, characterized by uniformly sized dots in a variety of colors named after pharmaceutical narcotics and stimulants, showcase his exploration of perception and reality. His *Butterflies* series draws inspiration from a psalm, touching on themes of life, death, art, beauty, and spirituality. The transformation of a caterpillar into a butterfly serves as a metaphor for the soul, a symbol that has been revered since antiquity, akin to motifs in stained glass windows and roses found in cathedrals.
The *Medicine Cabinets* series reflects Hirst’s philosophical inquiries; an artist who has battled the depths of substance abuse, he views art as a form of therapy. In our contemporary era, marked by technological advancements, Hirst has succeeded in elevating his works to icons of modern art.
Alain Dominique Perrin, the founder of the Cartier Foundation, is currently hosting Hirst’s first exhibition in a French museum. Titled *Cherry Blossoms*, this exhibition showcases 30 of the 107 works created over the last three years.
During a recent interview, Hirst reflected on various aspects of his creative journey:
“I suppose so, yes,” he began when asked if his mother’s passion for painting influenced his career. “She encouraged me to draw and paint. I remember she would sit me in a corner with a pen and paper, and when I said I had finished, she would stick more paper to it again and again. Ultimately, I think it was a good thing that helped me think big.”
Hirst was candid about identifying himself as an artist. “I grew up in Leeds, Yorkshire, where nobody I knew was paid to do a job they enjoyed. I thought about becoming an architect as it allowed me to incorporate my passion for drawing, but it didn’t work out,” he explained. “It was only really at Art School that I realized being an artist was a possibility.”
At 16, he visited the anatomy department of Leeds Medical School to practice life drawings, a formative experience that led him to a deeper engagement with themes of death and decadence in his art. When questioned about the meaning of death in his work, Hirst remarked, “It’s complicated. I used to think you could make art about death, but I don’t think you can anymore. Art deals with life, and I want to confront the challenges that come with life, including death.”
In discussing his exhibition *Cherry Blossoms* and the impact of the pandemic, he reflected, “I think they are pandemic paintings. After spending a decade on *Treasures from the Wreck of the Unbelievable*, my work became solitary during the pandemic, but that solitude also led to brightness in my art. Hope is a fundamental aspect of the paintings.”
Hirst emphasized the lessons learned at Goldsmiths College of Art, noting that one of the most valuable was “that there are no rules.” He recalled a moment of confrontation with a tutor over his chaotic, unrefined art piece. “The only worthy artists are those who sacrifice everything for their convictions,” he recalled, underscoring the importance of artistic integrity instilled in him during his education.
Looking back, he reflected on the pivotal *Freeze* exhibition organized by students, which caught the attention of Saatchi and dramatically influenced his career. “It was a turning point. We knew that if we wanted to be seen, we couldn’t just wait; we had to be proactive.”
As for his admiration for Francis Bacon, Hirst admits to earlier insecurities about painting due to a fear of not achieving the same intensity. “I enjoy painting a lot more now,” he stated, emphasizing a newfound comfort in his artistic expression. “Painting allows me to experience the highs and lows of existence.”
Finally, he discussed his *Natural History* series, which includes the iconic piece *The Physical Impossibility of Death in the Mind of Someone Living.* Hirst described the genesis of the work as a desire to evoke fear and contemplation through an object that symbolizes mortality. “This was the root idea: to create a piece that could terrify while inviting reflection.”
As the interview drew to a close, Hirst contemplated the nature of belief, stating, “My belief in art is almost religious. I believe in magic through art. It creates connections that extend beyond the individual. Art offers something that already exists within us.”
In a world increasingly defined by science and its promises, Hirst’s reflections on the interplay of art, death, and belief invite a deeper understanding of the human experience.