Damien Hirst’s Instagram has shown a noticeably different tone since January 9, one that is more open and personal.
Damien Hirst’s Instagram has shown a noticeably different tone since January 9, one that is more open and personal. It is as if Hirst is taking a walk down memory lane, giving more insight into his work from the spot paintings to the golden calf to the skull. He even opens up his studio in a post on January 31 where he is visibly working on a painting, explaining his interest in Bonard and De Kooning, whose exhibition he visited as a student at Pompidou. He mentions entitling the new series, probably influenced by Bonnard and De Kooning, The Veil Paintings, which will be shown at Gagosian in March. Are his Instagram posts nothing more than a PR stunt or are they demonstrative of good intentions for 2018? Certainly Hirst will continue to engage and surprise his audiences on Instagram and otherwise. As an artist, from the moment he won the Turner Prize in 1995, Damien Hirst has been present everywhere.
Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.
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