Published on March 30, 2026
Damien Hirst (1965) began his artistic career as an iconic member of the Young British Artists group. The advertising mogul and gallery owner Charles Saatchi elevated this group to global prominence, making Hirst its foremost representative supporting his career. Notably, Saatchi was responsible for selling Hirst’s tiger shark preserved in formaldehyde for 9.5 million euros in 2004. This work is a defining piece within Hirst’s *Natural History* series, which also includes his infamous cabinets of fish in formaldehyde. These works juxtapose a sense of permanence through meticulous scientific organization against the ephemeral nature of life, a concept further explored in his minimalist styles with dissected cows and calves displayed at Tate Britain, which earned him the prestigious Turner Prize in 1995.
Hirst’s oeuvre also includes his widely recognized *Spot paintings*, featuring same-sized dots in random colors, named after pharmaceutical narcotics and stimulants. Another significant series is titled *Butterflies*, inspired by a psalm that reflects Hirst’s favorite themes of life, death, art, beauty, and spirituality. The transformation of a caterpillar into a butterfly serves as a metaphor for the soul, rooted in ancient symbolism.
Moreover, Hirst’s *Medicine Cabinets* exemplify his philosophical inquiries, reflecting his own confrontations with drugs, alcohol, and tobacco. He sees art as a therapeutic vessel that, alongside science, mirrors the motion of life, capturing the essence of reality as it has evolved over time. Within this contemporary era dominated , Hirst’s works have become icons of modern art.
Currently, the Cartier Foundation is showcasing Hirst’s first exhibition in a French museum, titled *Cherry Blossoms*. This exhibition features 30 of the 107 works the artist created over the last three years.
In an exclusive interview, Hirst reflected on his return to painting and the early influence of his mother, who encouraged his artistic inclinations. As he recalls, she would endlessly attach more paper to his drawings, fostering a larger vision within him.
When asked at what age he realized he wanted to be an artist, Hirst shared that growing up in Leeds, Yorkshire, made it difficult to see art as a viable career. The predominant view in his environment was that work was merely a means to earn money, separate from personal passion. Initially contemplating a career in architecture, which would allow him to combine his love for drawing, he later found that art school paved the way for his realization of becoming an artist.
Hirst’s early exposure to the anatomy department at Leeds Medical School at the age of 16 shaped his themes of death and decadence in his art. When contemplating the meaning of death in his work, he remarked, “I used to think that you could make art about death, but I don’t think you can anymore. Death is not art because art is life.” He believes that confronting the unavoidable aspects of existence, like death, is crucial in his artistic practice.
Reflecting on his *Cherry Blossoms* exhibition, Hirst noted the pandemic’s influence on his work. He described the paintings as “pandemic paintings,” resulting from a period spent painting in solitude during lockdowns. He expressed how the darkness brought forth brightness and hope within those pieces.
Having studied Fine Arts at Goldsmiths College of Art in London, Hirst acknowledged the invaluable lessons he learned there, particularly the realization that there are no strict rules in art. He recounted a confrontational moment with a tutor that emphasized the importance of clarity and conviction in artistic expression.
In the 1980s, he and other students organized the *Freeze* exhibition, which attracted the attention and financial backing of Charles Saatchi. This endeavor marked a turning point for the Young British Artists, lending them a platform in the art world. Hirst emphasized the proactive nature of seeking an audience for one’s work, a lesson he carried forward in his career.
While he fondly remembers collaborations with fellow artists from that era, he expressed that he still maintains strong friendships within the artistic community.
Once inhibited by a perceived comparison to Francis Bacon, Hirst now embraces painting with confidence. He acknowledged that he previously found the medium unfashionable and challenging but has since carved his own unique approach to it.
The excitement of his creative process, he confessed, lies at its conclusion: “I like objects in an empty gallery,” he stated, revealing a preference for the finality of the work.
Hirst’s *Natural History* series, beginning with *The Physical Impossibility of Death in the Mind of Someone Living*, was inspired to symbolize complex feelings and evoke fear through art. He cites the influence of minimalist sculptures and a fascination with how the power of an artwork could provoke intense emotions.
On the relationship between science and belief, Hirst remarked that while science represents a new form of religion, it often lacks the emotional dimension necessary for human experience. He likened the roles of science and religion in society to that of art, prompting a conversation about how both attempt to communicate ideas through visual representation.
In his exploration of belief systems, Hirst conveyed a fundamental struggle with faith, stemming from a complex upbringing in a Catholic family that ultimately led to personal disillusionment. He emphasized the power of art as a vehicle for hope and connection, asserting that while neither science nor religion provides definitive answers, art taps into a deeper sense of existence.
As the conversation wove through themes of creativity, mortality, and belief, Hirst maintained an optimistic view of art as a repository of hope, stating, “I believe in art because it is very similar.”
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