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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.

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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.

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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

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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

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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.

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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

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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)

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DAVID HOCKNEY
No. 778, 17th April, 2011-2019
iPad drawing, 8-color inkjet print on cotton-fiber archival paper
Edition of 250
56 x 43,2 cm (22 x 17 in.)
Signed and numbered
In mint condition

Link to the art edition here
We encourage you to find out more via the Content-Sheet here

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ROBERT INDIANA
Classic Love, 1995
Hand-woven wool tapestry
Edition of 1501
79 x 182 cm (71.4 x 71.4 in.)
Signed and numbered
In excellent condition

Link to the art edition here

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ALEX KATZ
Harbor, 2006
Aquatint
Edition of 50
50 x 59 cm (19.6 x 23.5 in.)
Signed and numbered
In mint condition

Link to the art edition here

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ALEX KATZ
Purple Hat (Ada), 2017
Archival pigment
Edition of 125, plus 25 APs
116,8 x 53,3 cm (46 x 21 in.)
Signed and numbered in pencil
In mint condition

Link to the art edition here
We encourage you to find out more on the Content-Sheet, here

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JEFF KOONS
Split-Rocker (Vase), 2012
French Limoges porcelain
Edition of 3500
36 x 40 x 33 cm (14.1 x 15.7 x 12.9 in.)
Signed and numbered
In mint condition

Link to the art edition here
We encourage you to watch the video, here

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DONALD SULTAN
Yellow Mimosa, July 23, 2015
Silkscreen
Edition of 50
81,3 x 114,3 cm (32.2 x 45.5 in.)
Signed, dated, numbered
In mint condition

Link to the art edition here

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DONALD SULTAN
White Tulips and Vase, April 4, 2014
Painted aluminum on polished aluminum base
Edition of 25
61 x 50,8 x 8,9 cm (24 x 20 x 3.5 in.)
Incised with the artists initials, titled, and dated
In mint condition

Link to the art edition here

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JOANA VASCONCELOS
Filament II, 2014
Pigment print
Edition of 25
111,8 x 85,3 cm (44 x 33.5 in.)
Signed and numbered
In excellent condition

Link to the art edition here

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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

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