empty shopping cart

There are no products in your Cart. Browse our Artworks

header image

text image

Based on his most iconic and popular motives; the butterflies and the rainbow, Butterfly Heart and Butterfly Rainbow are digitally made of photographed real butterfly wings. The rainbow as "a symbol of hope" as Hirst has expressed throughout his career, has been vastly used throughout the history of art, spanning more than 800 years. Both editions maintain the use of the 7 colours, known as the chakra colours, and the butterfly wings represent a change in life and a spiritual epiphany.

text image

On Butterflies:
Shortly after graduating from Goldsmiths, in 1989, Hirst began working on a series of paintings after seeing flies get stuck on primed canvases in his Brixton studio. Taking this idea, but wanting to create something beautiful, Hirst started fixing the bodies of dead butterflies to monochrome gloss-painted canvases. The appeal of butterflies is created largely by the appearance of life they retain in death. Hirst has said, “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”

On Rainbow:
"A symbol of hope" as Hirst has expressed throughout his career, the rainbow has been vastly used throughout the history of art - spanning more than 800 years. One of the most enigmatic weather phenomena, the rainbow: from Noah's sign and the Book of Revelation, through to 18th-century optics, the epic landscapes of Romanticism, and modernist abstraction.

"I love colour. How can you not?" said Hirst. Another way that rainbows provide us with hope and motivation is by being a symbol for good luck. Rainbows are often thought to bring good fortune


On Heart-shaped works:
The Butterfly works go hand-in-hand with the heart-shaped canvases. Soon after Hirst began working on his now-iconic series of butterfly paintings he shaped the canvas into a heart - the international symbol for love.

text image

Butterfly Heart, 2020
Laminated Giclée print on aluminum composite panel
Edition of 1,698
70 x 72,7cm (27.6 x 28.6 in)

Digitally signed and numbered on the back
In mint condition
MORE HERE

text image

Butterfly Rainbow, 2020
Laminated Giclée print on aluminum composite panel
Edition of 1,497
48,2 x 100 cm (19 x 39.4 in)

Digitally signed and numbered on the back
In mint condition
MORE HERE

text image

These editions feature bright, abstract details from Damien Hirst’s new series of paintings titled Cherry Blossoms. Here, Hirst reinterprets the traditional subject of landscape painting on a monumental scale, entirely covering the surface of the works with bright colours that stretch the boundaries between figuration and abstraction.

The vibrant works pay homage to the Pointillism and Impressionism art movements. With the Cherry Blossoms series Hirst bridges his explorations and examination of colour as well as its effect on the eye, where movement and dynamicity of colour have been composed freely and joyously by the British artist.

text image

Fruitful, 2020
Laminated Giclée print on aluminum composite panel
Numbered and signed
In mint condition

Available in two sizes:
78 x 78 cm (30.9 x 30.9 in.)
Edition 1049
MORE HERE

& 39 x 39 cm (15.4 x 15.4 in.)
Edition 2173
MORE HERE

text image

Forever, 2020
Laminated Giclée print on aluminum composite panel
Numbered and signed
In mint condition

Available in two sizes:
78 x 78 cm (30.9 x 30.9 in.)
Edition 1528
MORE HERE

& 39 x 39 cm (15.4 x 15.4 in.)
Edition 2908
MORE HERE

If you have any questions - get in touch!
Use the LiveAssistance button, WhatsApp/WeChat +41 76 541 56 58, or email (info@wengcontemporary.com⁠)

text image

Hiking through the Icelandic landscape means to get oneself into it. In this loneliness full of moss, lichens, volcanic stones, and the melancholic bird-call of the golden plover high above it, it is difficult, Eliasson once said, "to say if a destination is 30 minutes away or maybe three hours or three days. So the question is about the point of view, about the perspective one has."

"People see space as a compilation, the placing of layers on top of each other. But you can also make a space by removing all the surrounding elements and then seeing what’s left."
—Olafur Eliasson

Contact is content at Seljalandsfoss, 2014
C-Print
Edition of 100
Each 53 x 42 cm (20 x 16.5 in.)
Signed and numbered on adhesive label
In mint condition

Explore the edition here

text image

If you have any questions - get in touch!
Use the LiveAssistance button
WhatsApp/WeChat +41 76 541 56 58
or email (info@wengcontemporary.com⁠)

text image

In Paper Kite Butterfly on Oleander, Hirst features his signature motif – the butterfly – alive in its natural surroundings, hanging from a beautiful, strikingly coloured blossom. In this, he has created an uplifting and celestial image that inspires childlike wonder in the face of such a beauty of nature. At the same time, however, it provokes fundamental questions about the meaning of life, a life which is characterized by death, and the fragility of biological existence.

“I love butterflies because when they are dead they look alive."—Damien Hirst

header image

The distinction between life and death, myth and medicine, is explored by the Cabinet series, as they serve as a shrine to modern pharmaceuticals.

text image

There is no imminent promise of salvation, no escape offered in these works. Those black pills, as in Dark Black Heaven, are as threatening as they are strangely attractive, a dark fatal allure which we already know leads to one ultimate destiny.

Hirst’s work questions the equivocal role of medicine. It can either take life and save life or destroy and restore. These pills are not a memento mori like the skulls or the butterflies. They are a symbol of resignation and alienation from life, and a fatal attraction towards death.

"It’s like God should be, the way they sell you the pills, the forms, the utopia, the hope, the cure. We’ve come a long way since quack doctors."—Damien Hirst

The pharmaceutical cabinets, as in Hirst’s work Utopia, question people´s complete reliance on medications and their power to heal, which fulfill the natural desire for immortality. However, the question is: Can drugs cure this problem, or can art?

text image

On the other hand, Gold tears, which is part of the Utopia series, depicts rows of shiny diamonds on shelves covered with golden foil in front of a golden-beige background. The image is an intense vision of a golden cabinet filled with diamonds, a vision often associated with glorious eternity. But as always in Hirst’s art, the ambiguity is obvious – this cabinet points to the fact that behind all the shiny glittery surfaces there might be nothing, no meaning, and no soul. And hence the desire for eternity is less a promise than a condemnation.

"I can’t understand why most people believe in medicine and don’t believe in art, without questioning either."—Damien Hirst

Latest on Instagram