Lies, Lies - 2008 (details) - @damienhirst 〰 @whitecubeofficial ✨ #adscite 📷... - IRFS.AZ
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Lies, Lies - 2008 (details) - @damienhirst 〰 @whitecubeofficial ✨ #adscite 📷 #AlexandreFisselier ➕Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a leading artist of his generation. Hirst explores the tensions and uncertainties at the core of human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways. Hirst is perhaps best known for his ‘Natural History’ series of works which present animals in vitrines suspended in formaldehyde. These iconic sculptures such as The Physical Impossibility of Death in the Mind of Someone Living (1991) or Mother and Child (Divided) (1993), aim to recast fundamental questions about the meaning of life and the fragility of biological existence. Hirst uses the vitrines as both a window and barrier, seducing the viewer visually while also providing a minimalist geometry to frame, contain and objectify his subject. He first constructed a steel and glass tank in the seminal work A Thousand Years (1990), in which a miniature life cycle is created by flies hatching, feeding and then dying at the hands of an insect-O-cutor. In many of his other vitrine sculptures from the 1990s such as The Acquired Inability to Escape (1991) or The Asthmatic Escaped (1992), he implies a human presence through its absence, including relic-like objects such as clothes, cigarettes, ashtrays, tables and chairs. Science and our unquestioning faith in the power of pharmaceuticals remains one of Hirst’s most enduring themes. These ideas are investigated in the installation Pharmacy (1992) as well as in the ‘Medicine Cabinets’ and ‘Instrument Cabinets’ which display a cornucopia of reflective, precision-tooled surgical implements within steel and glass cases. Other sculptures are more celebratory in tone such as Hymn (1999-2001), a polychrome bronze sculpture which reveals the musculature and internal organs of the human body as they are presented in toy-like anatomical models enlarged to...

Lies, Lies - 2008 (details) - @damienhirst 〰 @whitecubeofficial ✨ #adscite 📷 #AlexandreFisselier ➕Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a leading artist of his generation.

Hirst explores the tensions and uncertainties at the core of human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways.

Hirst is perhaps best known for his ‘Natural History’ series of works which present animals in vitrines suspended in formaldehyde. These iconic sculptures such as The Physical Impossibility of Death in the Mind of Someone Living (1991) or Mother and Child (Divided) (1993), aim to recast fundamental questions about the meaning of life and the fragility of biological existence.

Hirst uses the vitrines as both a window and barrier, seducing the viewer visually while also providing a minimalist geometry to frame, contain and objectify his subject. He first constructed a steel and glass tank in the seminal work A Thousand Years (1990), in which a miniature life cycle is created by flies hatching, feeding and then dying at the hands of an insect-O-cutor. In many of his other vitrine sculptures from the 1990s such as The Acquired Inability to Escape (1991) or The Asthmatic Escaped (1992), he implies a human presence through its absence, including relic-like objects such as clothes, cigarettes, ashtrays, tables and chairs.

Science and our unquestioning faith in the power of pharmaceuticals remains one of Hirst’s most enduring themes. These ideas are investigated in the installation Pharmacy (1992) as well as in the ‘Medicine Cabinets’ and ‘Instrument Cabinets’ which display a cornucopia of reflective, precision-tooled surgical implements within steel and glass cases. Other sculptures are more celebratory in tone such as Hymn (1999-2001), a polychrome bronze sculpture which reveals the musculature and internal organs of the human body as they are presented in toy-like anatomical models enlarged to...
@afisselier | Alexandre Fisselier

Lies, Lies - 2008 (details) - damienhirstwhitecubeofficial#adscite 📷 #AlexandreFisselier ➕Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a leading artist of his generation. Hirst explores the tensions and uncertainties at the core of human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways. Hirst is perhaps best known for his ‘Natural History’ series of works which present animals in vitrines suspended in formaldehyde. These iconic sculptures such as The Physical Impossibility of Death in the Mind of Someone Living (1991) or Mother and Child (Divided) (1993), aim to recast fundamental questions about the meaning of life and the fragility of biological existence. Hirst uses the vitrines as both a window and barrier, seducing the viewer visually while also providing a minimalist geometry to frame, contain and objectify his subject. He first constructed a steel and glass tank in the seminal work A Thousand Years (1990), in which a miniature life cycle is created by flies hatching, feeding and then dying at the hands of an insect-O-cutor. In many of his other vitrine sculptures from the 1990s such as The Acquired Inability to Escape (1991) or The Asthmatic Escaped (1992), he implies a human presence through its absence, including relic-like objects such as clothes, cigarettes, ashtrays, tables and chairs. Science and our unquestioning faith in the power of pharmaceuticals remains one of Hirst’s most enduring themes. These ideas are investigated in the installation Pharmacy (1992) as well as in the ‘Medicine Cabinets’ and ‘Instrument Cabinets’ which display a cornucopia of reflective, precision-tooled surgical implements within steel and glass cases. Other sculptures are more celebratory in tone such as Hymn (1999-2001), a polychrome bronze sculpture which reveals the musculature and internal organs of the human body as they are presented in toy-like anatomical models enlarged to...

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