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Damien Hirst’s *Justice* distills the artist’s enduring inquiry into belief systems—legal, religious, and medical—into a coolly authoritative image that reads as both emblem and indictment. Executed with Hirst’s characteristically exacting production values, the work’s crisp surface and calibrated symmetry evoke institutional design: signage, seals, and the graphic language of public trust. Its facture—smooth, controlled, and ostensibly impersonal—underscores a central tension in Hirst’s practice: the human desire for certainty set against the opacity of moral and biological outcomes. Emerging from a post-YBA milieu attentive to spectacle and commodification, *Justice* also reflects the late-capitalist appetite for icons that promise order while masking contingency. In this way, the work operates as a contemporary memento mori, reframed through the rhetoric of authority and the aesthetics of systems.
Damien Hirst was born in 1965 in Bristol and grew up in Leeds. In 1984 he moved to London, where he worked in construction before studying for a BA in Fine Art at Goldsmiths college from 1986 to 1989. He was awarded the Turner Prize in 1995. Since the late 1980’s, Hirst has used a varied practise of...
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