Damien Hirst. Superstition

Damien Hirst. Superstition
Damien Hirst. SuperstitionDamien Hirst. SuperstitionDamien Hirst. SuperstitionDamien Hirst. SuperstitionDamien Hirst. Superstition

Damien Hirst. Essay by John Banville. Commentary by Richard Bardford. Poems by Philip Larkin.

Beverly Hills & London. Gagosian Gallery & Other Criteria. 2007. First edition. Paper-covered embossed boards with Hirst design, [no dust jacket issued]. Full-page colour plates throughout. 315 x 315mm (12½ x 12½"). 2kg. 9781932598452. English. Fine.

The scarce catalogue for the Damien Hirst: Superstition show, which ran concurrently in Beverly Hills and London in 2007. The beauty of Hirst's butterfly images are well reflected in this fine production.
'In these works, Hirst expands on the iconic motif of the butterfly as a symbol of the beauty and inherent fragility of life, reaching new heights of complexity, refined detail and radiance...
...Hirst creates paintings whose classical shapes and compositions take their inspiration from stained glass church windows. From the soaring gothic arch in Aubade—Crown of Glory to the intricate form of the rose window in Friday Night in the Royal Station Hotel—Conception, the works all portray an ornate, fractal geometry and perfect, mathematical symmetry that is awe-inspiring.
Each painting in "Damien Hirst: Superstition" has two titles, the first taken from the poems in Philip Larkin's collection High Windows. Larkin was an English poet whose fatalistic, colloquial writings speak to a seemingly shared extinguished faith. The second title makes direct reference to religious iconography.' (from Gagosian Gallery's exhibition description).