Damien Hirst the contemporary memento mori b 1965

Damien Hirst the contemporary memento mori

• b. 1965, Brighton, England • grew up in Leeds, Yorkshire • Leader/star of the YBA’s • Lives in London, Devon, and an artist’s resort in Mexico • holds the record in sales for a living artist

"There's only ever been one idea in art: what the hell are we doing here, and what's it all about? " - Damien Hirst I want to spend the rest of my life everywhere, with everyone, one to one, always, forever, now

influences… Francis Bacon, Three Studies for a Crucifixion, 1962

influences… Marcel Duchamp’s ‘readymade’ Andy Warhol’s Pop art

influences… Donald Judd’s cube Jeff Koon’s “The New”

three types of death: a natural death a clinical death a pretty death

a natural death

A Thousand Years, 1990

A Thousand Years (detail)

The Physical Impossibility of Death in the Mind of Someone Living, 1991

Damien Hirst

Away from the Flock, 1994

Mother and Child Divided, 1994

In Nomine Patris, 2006

The Tranquility of Solitude (For George Dyer), 2006

a clinical death

god, 1989

No Arts, No Letters, No Society, 2006

Pharmacy, 1992

The Blood of Christ, 2006

a pretty death

Like Flies Brushed Off a Wall We Fall, 2006

The Explosion Exalted, 2006

the ultimate death

For the love of God, 2007 8, 601 VVS to flawless diamonds. . . 1, 106. 18 carats in total weight. . .

Memento mori “The vanitas exemplifies—more than any other narrative or allegorical theme—the paradox of earthly life as contemplated by the growing middle class in the Netherlands: there was a concern that man should not be seduced by sensual experiences, but at the same time theologians had begun to celebrate the blessings of God’s creation, the extraordinary riches and beauty of the natural world. The two strands of thought were conflicting yet interrelated. The purchaser of a vanitas still-life could enjoy the beauty of the work but simultaneously be reminded of its sombre message. ” Hans J. Van Miegroet, "Vanitas, " Oxford University Press, www. groveart. com/.

“We live in the future, don't we? As a society. We don't live in the present. 'Ah, it'll all be better tomorrow. Don't worry. . . ' I'll get these in, you get the next one. . . ' It's all based on the future. Because we're afraid of dying. I don't think you should be afraid of dying. Because it's the only solid thing. I think you should go 'Yeh, I'm going to die. ' Without crying. . . I'm not really. I just got smoke in my eye. Boo-hoo-hoo. . . ” Damien Hirst, On the Way to Work

M. D'A. What are you interested in making people experience? D. H. I want them to go away having experienced something and leave richer on some level. I want to give you the energy to go away and think about your life again. To pose some questions. They may be uncomfortable questions but they need to be asked. To make people think again about what they know. I think the worst thing in life is when you are walking around and you become trapped. I think as a person you are always trying to avoid that. As an artist maybe you are trying to communicate ways for people to avoid that. - “The Agony and the Ecstasy”