Understanding the ‘Frankenstein Moment’
The term “Frankenstein moment” has taken on a significant meaning in the artistic journey of Damien Hirst. In a recent podcast episode of Waldy and Bendy’s Adventures in Art, Hirst detailed how a comment from renowned painter Lucian Freud profoundly impacted his perception of his own work. Hirst candidly confessed that he now believes his “best work was done more than 35 years ago,” prompting reflections on his career trajectory and the potential for shifting business practices.
The Turning Point: A Reflection on “A Thousand Years”
This moment of revelation traces back to Hirst’s installation, A Thousand Years, presented in 1990. The piece features a glass box containing a cow’s head, flies, worms, and an electric fly swatter. Freud’s comment was chilling: “Dear, I think you’ve started with the final act.” Hirst described it as a crucial moment that turned him into a “spectator of my own work.” This insight forced him to evaluate the impact and relevance of his most notable works, recognizing the significance of his earlier creations.
Market Impact and Career Reflection
Beyond the aesthetic influence of A Thousand Years, Hirst acknowledged its pivotal role in his career. It was this work that captured the attention of collector Charles Saatchi, positioning him as a key figure within the Young British Artists (YBA) movement. During the 1990s, his other controversial pieces such as Mother and Child (Divided) and The Physical Impossibility of Death in the Mind of Someone Living further solidified his status in contemporary art.
Business Model Reconsideration
As the conversation progressed, Hirst addressed his evolving business model in the art world. He admitted a stark change: “For the first time in history for me…an artist makes more money from prints than from paintings.” This innovation reflects the advancements in printing technology, achieving quality standards akin to original pieces.
During the discussion, he acknowledged that the profitability of prints might lead him to reconsider the future of selling original artwork. When asked if he would stop making paintings due to the success of prints, Hirst responded thoughtfully, “No, but maybe I’ll stop selling them.”
Recent Market Success
Evidence of this trend is palpable, with over 600 prints sold in 2024 amounting to £3.7 million (approximately $5 million). Additionally, his recent series, The Virtues, reached impressive auction results, indicating a financial shift in the art market towards prints.
Unique Projects Beyond Commercial Circuits
Hirst also revealed his engagement in unique, non-traditional projects, such as designing a 150-ton amethyst grotto for Mark Getty. This involvement with eccentric requests underscores the artist’s versatility and willingness to create outside conventional boundaries.
In wrapping up his thoughts, Hirst emphasized the importance of accessibility, suggesting that his installations could open doors to public experience, enhancing the connection between art and its audience.
[Photos: REUTERS/Hannah McKay]