ABSOLUTELY STUNNING, LARGE (40” x 40”) HIRST PIECE FOR AN UNBELIEVABLE DEAL.

Many dream of owning any work by Damien Hirst , this is your chance to hang a true masterpiece on the wall. The work literally sparkles with a coat of diamond dust under the lamination, Exquisite work .

This is a work that instantly draws attention to itself. The sheer amount of compliments these works bring is unbelievable.

The Empresses’ (H-10, 2022) marks a new iteration in Damien Hirst’s exploration of the butterfly as a symbol for freedom, religion, life and death.

A series of five laminated Giclée prints on aluminium composite, screen printed with glitter, each print depicts images of red and black butterfly wings, arranged into a unique kaleidoscope-like pattern.

The carefully positioned wings appear mobile and their patterns transform, each print seeming to capture the butterflies in moments of variously directional flight.

‘Nūr Jahān’, defined by complex mosaic-like arrangements and a structural composition, is named after the multi-skilled de-facto empress of the Mughal Empire. In 1611 Nūr Jahān (1577-1645) became Emperor Jahāngīr’s 20th wife, but not officially his empress.

Nonetheless, she exerted her influence on the empire, minting coins in her name and issuing royal decrees.

A great diplomat, a skilled hunter and a successful advisor, Nūr Jahān was also a talented architect – her designs for her parent’s tomb in Agra are believed to have inspired the Taj Mahal.

In ‘Nūr Jahān’, single or paired wings in various sizes and striking hues of red and black are arranged into perfectly symmetrical patterns.

The wings emanate out from the centre vertically,
horizontally and diagonally to create entrancing kaleidoscope-like patterns.

The focal square composition appears to enshrine the central pair of wings, with the surrounding arrangements of wings seemingly receding and therefore directing the eye to its centre.

This intricate, tectonic organization recalls the architectural efforts of Nūr Jahān and the glorious mosaic tiles that adorn the Agra tomb.

The arrangement of ‘Nūr Jahān’ is in a constant state of transformation – new passages of patterns of extraordinary wings are revealed the longer it is studied and the more the viewer changes their position before it.

Such is true of the large black and red pairs of wings that encircle the composition at its outer edge, alternately arranged to create an uneven frame. In doing so, Hirst infuses into this orderly composition a sense of vitality, that these butterflies are captured in a moment of variously directional flight.

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