damien hirst
i'd much rather have my hands on you than be buried in a pile of HVAC textbooks.
the one material thing i'd love for christmas: (besides a monkey towel mug)
i want to spend the rest of my life everywhere, with everyone, one to one, always, forever, now
by damien hirst
people have been asking me about my backpiece alot, and while i find it hard to respond to most of them, it makes me think of what a profound impact hirst had on the creation and drawing of the piece.
on the physical impossibility of death in the mind of the living (1991):
people have described his works as "an examination of the processes of life and death: the ironies, falsehoods and desires that we mobilise to negotiate our own alienation and mortality." we navigate and negotiate the concept of our own (or our loved ones') mortality and what that subsequently means about our life. with things and concepts that fall from our reach and our depth of understanding, we create symbols of death and of life and symbols of that which used to live because we can no longer grasp what they are now, only what they were. so we preserve that memory, that symbol.
there is a self awareness of the body where it knows where its limbs are at all times. there is also the cognitive habit of relating exactly what you see such as someone throwing a baseball where the body imagines doing what it sees another body doing. every time we see human action, our own body goes through the similar sympathetic action. the mind imagines its own body retracting its arm and releasing the ball with force. with Hirst's pieces, there is a sympathetic action that places my mind and body in this tank of formeldahyde. We have experienced death ourselves because our mind and body experiences the death of others.
a thousand years (1990) is an installation with a sheeps head that maggots feed on. as they become flies, the fly zapper in the corner ends their life. it is a morbid and simplistically haunting look at the cycle of life/death. you make a face of disgust and then you simply turn your head and think about it for a very, very long time as the disgusted face turns into something more like deep realization.
the one material thing i'd love for christmas: (besides a monkey towel mug)
i want to spend the rest of my life everywhere, with everyone, one to one, always, forever, now
by damien hirst
people have been asking me about my backpiece alot, and while i find it hard to respond to most of them, it makes me think of what a profound impact hirst had on the creation and drawing of the piece.
on the physical impossibility of death in the mind of the living (1991):
people have described his works as "an examination of the processes of life and death: the ironies, falsehoods and desires that we mobilise to negotiate our own alienation and mortality." we navigate and negotiate the concept of our own (or our loved ones') mortality and what that subsequently means about our life. with things and concepts that fall from our reach and our depth of understanding, we create symbols of death and of life and symbols of that which used to live because we can no longer grasp what they are now, only what they were. so we preserve that memory, that symbol.
there is a self awareness of the body where it knows where its limbs are at all times. there is also the cognitive habit of relating exactly what you see such as someone throwing a baseball where the body imagines doing what it sees another body doing. every time we see human action, our own body goes through the similar sympathetic action. the mind imagines its own body retracting its arm and releasing the ball with force. with Hirst's pieces, there is a sympathetic action that places my mind and body in this tank of formeldahyde. We have experienced death ourselves because our mind and body experiences the death of others.
a thousand years (1990) is an installation with a sheeps head that maggots feed on. as they become flies, the fly zapper in the corner ends their life. it is a morbid and simplistically haunting look at the cycle of life/death. you make a face of disgust and then you simply turn your head and think about it for a very, very long time as the disgusted face turns into something more like deep realization.