23 May 2012

Damien Hirst:Two Weeks One Summer at WHITE CUBE

'The void of painting is always a difficult thing. It's infinite really. There's no gravity in painting, so it's even more infinite than space.'

Painting has always been an important part of Hirst's oeuvre, but unlike the spot paintings and photorealist series which were made using a collaborative studio process, this body of work is altogether more personal: painted from life, by Hirst in his Devon studio.

With their bold handling of paint, accents of bright colour and sharply defined highlights, these works invoke a sense of the moment, a creative urgency. Different textures, depths of colour, tactility and paint application work to create beguiling images that collage various different emotive qualities, setting them apart from the conceptualism of Hirst's earlier work. As Manuela Mena has written in her catalogue essay: “Hirst creates his system of inextricably woven and flexible order... to create space: he is not tied to perspective, contrasts of light and shadow, planes of flat colours. He has addressed the subject of still-life with a code of expression that is entirely his own.”






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