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Damien Hirst, Love will tear us apart, 1995

Hirst swallowed some pills as a child, mistaking them for sweets, and had to have his stomach pumped. This childhood incident triggered his fascination with modern medicine and our confidence that...

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Damien Hirst, Forms without Life, 1991

Hirst has spoken of his love of curiosity museums, which have their origin in the sixteenth century when ‘cabinets of wonder’ or rooms of disparate objects were brought together and categorised...

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Damien Hirst, Home Sweet Home, 1996

Cigarettes are a frequent motif in Hirst’s work. Cigarette stubs continued to appear in his artworks even after he quit the habit in 2006. The artist has compared the act of smoking to a mini life...

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Damien Hirst, Tie a Yellow Ribbon Round the Old Oak Tree, 2002

This etching derives from Hirst’s large and on-going series of spin paintings, an example of which can be seen above the doorway in the main hall downstairs. It is one of 23 etchings from the portfolio...

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Damien Hirst, beautiful c painting, 1996

In 1994 Hirst embarked on a series of spin paintings, placing large circular canvases on a rotating turntable and pouring or flinging household gloss paint over the surface. He was inspired by a Blue...

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Damien Hirst, Away from the Flock, 1994

Away from the Flock is one of Hirst’s most famous ‘Natural History’ works. In this series dead animals (cows, sheep, sharks, pigs, zebras) are preserved in formaldehyde-fi lled, minimalist-style...

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Damien Hirst, Trinity – Pharmacology, Physiology, Pathology, 2000

Trinity draws parallels between science and religion as different systems of belief. In Hirst’s trio of cabinets, plastic demonstration objects and teaching aids sourced from medical supply catalogues...

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Damien Hirst, With Dead Head, 1991

Hirst was just sixteen when this picture was taken –ten years before he enlarged the image and made it into an artwork. He is shown literally face to face with death, posing next to one of the...

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Damien Hirst, Controlled Substances Key Painting, 1994

Household gloss on canvas Hirst created his fi rst spot painting by hand but he soon took up a more methodical approach to painting, making each spot a uniform size and arranging them within a precise...

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Damien Hirst, Monument to the Living and the Dead, 2006

Butterflies are a recurring motif in Hirst’s work, as a metaphor for our own fragile existence and as a symbol of the life cycle. In this diptych the butterflies are seemingly alive, fluttering across...

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