Damien Hirst

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 9:49 pm


David Bomberg, Ju-Jitsu (c1913)
I like Bomberg because he went from landscape painting into abstraction in a really good way, by hanging on to the figurative within the abstraction. It’s from the old into the new world. I always think that any good artist’s career is like the map of a person’s life, and Bomberg is perfect. With Edward Burra, for instance, you don’t really notice a lot of change. In works like Bomberg’s Bathing Scene or Ju-Jitsu, you think why is it getting simplified? I remember for years looking at Picasso’s Les Demoiselles d’Avignon. I knew it was an important painting, but I couldn’t work out why it was important. With Bomberg, I saw his personal journey in trying to reduce things to abstraction, which seemed so genuine. His early and late paintings seem as if they’re by two different people. I always like that in an artist, because I do that a lot myself – trying to escape who I am. Photograph: Tate

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 9:53 pm


John Martin, The Great Day of His Wrath (1851-3)
I was at a Roman Catholic school, where to begin with I was taught by nuns. I'd go straight to the crucifixion section of the illustrated Bible because I loved all that imagery – the blood coming down the feet and hands. At school we had the religious books we had to read from … I’m sure that’s all affected me, but I do think it’s a crock of shit. With Father Christmas, you get to eight or nine years old and start to see holes in it after you catch your parents in the bedroom bringing your presents. Whereas with religion, the grownups don’t tell you it’s all made up, so your mind is forming these questions as they’re telling you these silly ideas – that Eden is a place on earth, and if only mankind could find it, he’d be happy. And you’re thinking, well, it must be near the Nile somewhere, or up the Amazon. Because, as a kid, you want answers, don’t you? Photograph: Tate

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 9:56 pm


Francis Bacon, Study for a Portrait (1952)
An image can be anything and can come from anywhere, and you can use anything available to create that image – and Bacon created unforgettable images that you can’t get out of your head ... I think art is one plus one equals three. But it’s a third thing and a fourth thing and a fifth thing – things start to happen. You can’t look at that curtain in the Bacon painting Study for a Portrait, for example, and answer the question of it without seeing everything else. So that's what the problem is. And once you do that, you can’t look at the face of the guy without looking at the box. You don't doubt that you know why he's screaming, but what is he screaming about?Photograph: Estate of Francis Bacon. All Rights Reserved, DACS 2012

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 10:06 pm


Auguste Rodin, The Kiss (1901-4)
I like Rodin. Early on, I used to do a lot of life drawing and stuff. I looked at books on Rodin because I thought I should understand anatomy, and I realised that in this day and age you don’t need to learn that. Before then, I would be drawing a naked woman in front of me and trying to draw her actual hip or thigh bone, instead of her. Rodin really helped me to look at the world. Photograph: Tate

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 10:11 pm


Bruce Nauman, Violent Incident (1986)
You see a couple having dinner, helping each other to the food, but they end up beating each other up. She pulls the chair out for him to sit down, and then pulls it away, so he falls on the floor. I think she ends up knifing him, or him stabbing her, so the kitchen utensils turn into weapons. It’s on 12 monitors, all showing at different times. On one of the screens the meal is beginning, and it’s pleasant, and on another it’s turning nasty, and then on another it’s totally brutal. It goes on continuously. It is like human relationships – you start one, and then you fuck it up. We are constantly attempting the impossible in human relationships. We’re separated by flesh and bone, and we’re trying to fuse that together. We’re trying to live forever when we know we’re going to die. We’re trying to control things that are uncontrollable. This is the drama of life, and that’s what’s exciting about itPhotograph: ARS, NY and DACS, London 2012

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 10:17 pm


Pablo Picasso, The Three Dancers (1925)
A lot of ideas that any art student has, Picasso had them already. He took a huge amount of what was possible, and took it for himself. That is his power. He was brilliant at that balance between the two-dimensional and the three-dimensional, the illusion of space and real space – and all using real life as a departure point. But, you know, he never left the picture plane, which is brilliant. He made it the whole world, which is difficult to do. Picassos are infinitely awesome Photograph: Succession Picasso/DACS 2012

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Re: Damien Hirst

Post  eddie on Tue Apr 17, 2012 10:24 pm


Andy Warhol, Self-Portrait (1986)
Warhol was always hiding part of himself, because he wore a wig; he was shy, and he was nervous. He was not showing you himself. I don’t think artists ever show themselves. They show you something elsePhotograph: The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DACS, London 2012

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