An Existentialist View on The Physical Impossibility of Death in the Mind of Someone Living

Damien Hirst is without a doubt, one of the greatest artists of all time. Which is fitting as Hirst’s body of work is centred on the concept of time. His art is not for everyone, that’s for sure. For some reason, his sculptures, installations, and paintings trigger strong emotional reactions that shut off the logical functions of the cognitive brain, causing viewers to retort verbal abuse at Hirst on social media. Maybe because his art is minimal and there are people in the world who believe artworks need to be composed of the most skilful use of techniques, technologies, and media to be considered high art and therefore the most valuable? But for those of us with an open mind and willing to view the world through another’s eyes, we can appreciate Hirst’s use of simple and minimalistic forms and materials in his artworks.

For example, his famous "Spot Paintings" consist of rows and grids of different coloured dots on a white background. The paintings are arranged in a systematic and minimalist way, with no discernible pattern or meaning behind the placement of the dots. The use of repetitive and uniform shapes and colours in the Spot Paintings creates a sense of simplicity and minimalism.

Similarly, his "Spin Paintings" involve spinning canvases and dropping paint onto them, creating chaotic and abstract compositions. However, despite the seemingly random and chaotic nature of the works, they have a minimalist quality due to the reduction of the forms and colours used.

Another example of Hirst's minimalism can be seen in his use of ready-made objects in his installations, such as The Physical Impossibility of Death in the Mind of Someone Living, which features a preserved tiger shark in a glass tank. The shark itself is a minimalist object, with its sleek and streamlined form and lack of adornment or decoration.

The dichotomy of Hirst's art can be realised when viewing his minimalist aesthetic and comparing it to his complex themes of life, death, and mortality. Although Hirst uses simple and universal symbols and motifs to convey complex ideas, that does not then mean his existentialist views are any less important. His works often incorporate themes and motifs that are central to existentialist philosophy, such as the meaninglessness of life, the human condition, and the inevitability of death. The title of his art and even an exhibition indirectly quotes existentialist philosopher, Nietzche - The Death of God.

One of Hirst's most famous works, The Physical Impossibility of Death in the Mind of Someone Living, is a sculpture of a shark suspended in formaldehyde. The piece is a powerful representation of the fleeting nature of life and the inevitability of death. The shark, once a powerful and feared predator, is now reduced to a lifeless object, frozen in time and preserved in a jar. The piece forces the viewer to confront their own mortality, their fears, and the brevity of their existence. Experiencing this artwork, and other from his dead animal series, results in a deeper formation of identity in the viewer.

Similarly, Hirst's For the Love of God is a diamond-encrusted skull that serves as a memento mori, reminding the viewer of their own mortality. The piece is a contemporary take on the traditional vanitas still life, which was a genre of art that emerged during the 16th and 17th centuries and was often used to represent the transient nature of life and the inevitability of death. The term "vanitas" comes from the Latin word for "vanity," and the art form was characterised by images of objects that symbolised the brevity of life and the futility of worldly pursuits. The primary role of vanitas art was to remind viewers of the inevitability of death and the impermanence of earthly possessions. Typical vanitas images included skulls, hourglasses, rotting fruit, and extinguished candles, as well as items such as books, musical instruments, and globes, which represented human knowledge and achievement. The inclusion of such objects was intended to encourage viewers to reflect on the fleeting nature of life and the ultimate futility of material wealth and earthly pleasures. Here lies the ingenuity of Hirst; by applying the contemporary context, he has been able to look back at an old idea and evolve it to suit a 21st century audience and make artworks that fulfil a very similar purpose but utilising contemporary technologies and ways of making art.

There’s irony in vanitas. On the one hand, the images of skulls, rotting fruit, and other symbols of decay serve as a warning against the vanity of material possessions and the ultimate emptiness of worldly success, yet the elaborate compositions and intricate details of many vanitas paintings serve to glorify the very objects that are being critiqued. The use of highly prized materials such as gold and silver, as well as the inclusion of valuable objects such as books and musical instruments, may have served to celebrate the wealth and sophistication of the patron who commissioned the painting. Moreover, the very act of commissioning a vanitas painting can be seen as a form of ironic self-awareness, in which the patron acknowledges the ultimate futility of their wealth and status even as they seek to display it through their art collection. In this way, the irony of vanitas art lies in its ability to simultaneously critique and celebrate the materialism of its time, while also serving as a reminder of the fragility and impermanence of human existence. The irony lies in the message not being understood by the owners of vanitas artworks.

Damien Hirst’s body of work is more than just a contemporary take on vanitas, though he perfected the idealism in his sculpture, For The Love of God, which will also conquer time itself, an ironic take on a skull that represents death, but it’s made of platinum and diamonds, two materials that are not ephemeral by nature and laugh in the face of death. And it’s more than an artist’s take on existentialist philosophy because Hirst also engages his audience spiritually. Take for instance his mandalas made of butterflies. Here, we see brightly coloured butterfly wings arranged in a symmetrical pattern, creating a sense of beauty and fragility. The butterflies themselves can be seen as symbols of transformation and the ephemeral nature of life, which can be interpreted as a spiritual message.

Mandalas are spiritual symbols that are commonly associated with Hinduism and Buddhism, although they can be found in many other cultures as well. The word "mandala" comes from Sanskrit and means "circle" or "center." In spiritual traditions, mandalas are used as tools for meditation and contemplation. The circular design of the mandala represents the universe and the interconnectedness of all things, while the intricate patterns and colours are believed to have a calming and centring effect on the mind. Mandalas are also used as a way of connecting with the divine.

In Buddhism, mandalas are often used as part of the practice of tantric meditation, which involves visualising oneself as a deity and imagining the universe as a mandala. The purpose of this practice is to cultivate compassion and wisdom, and to ultimately achieve enlightenment. One could arguably link this idea to the purpose of vanitas art and also the work of Damien Hirst.

Mandalas are spiritual symbols that are used in many different traditions as tools for meditation, contemplation, and connection with the divine. The circular design and intricate patterns are believed to have a calming effect on the mind, while the symbolism of the mandala represents the interconnectedness of all things and the ultimate nature of reality.

But Hirst isn’t just making mandalas out of butterflies, he adds a third element, that being scale. These artworks are enormous, and a technique to represent the sublime and engage the spirit for the viewer in much the same way Mark Rothko used scale to spiritually engage his audience.

Interestingly, there are clear similarities between Buddhist philosophy and existentialist philosophers, particularly in terms of their emphasis on the individual's subjective experience of the world and the search for meaning in life. Both Buddhism and existentialism reject the notion of an objective, external reality, and emphasise the importance of personal responsibility and individual choice. Some scholars have pointed out that existentialist thinkers such as Jean-Paul Sartre and Albert Camus were familiar with Buddhist philosophy, and may have been influenced by it in their own work. For example, Sartre's concept of "nihilism" has been compared to the Buddhist notion of "emptiness," while Camus' ideas about the absurdity of life have been seen as similar to Buddhist teachings on the impermanence and suffering of existence.

Damien Hirst makes this link all the more clearer in the title of one of his butterfly mandalas, I Am Become Death, Shatterer of Worlds, which is a 2006 artwork by Damien Hirst. The title of the artwork is a reference to a quote from the Bhagavad Gita, a Hindu scripture, where the god Vishnu says, "Now I am become Death, the destroyer of worlds."

The spiritual and existential aspects of this artwork is complex and multifaceted. On one hand, the reference to the Bhagavad Gita suggests a contemplation of the destructive power of technology and the role of humanity in creating and using such destructive power. The artwork could be seen as a meditation on the spiritual consequences of the nuclear age, and a warning against the hubris of technological advancement. On the other hand, the artwork can also be interpreted as a commentary on the nature of existence itself. The reference to the Bhagavad Gita implies a sense of cyclical destruction and rebirth, and the nuclear bomb could be seen as a symbol of the destructive and transformative power of change. The bomb's explosive force is so great that it is capable of destroying entire cities and reshaping the landscape, and this could be interpreted as a metaphor for the spiritual power of transformation and renewal.

Ultimately, the spiritual aspect of I Am Become Death, Shatterer of Worlds is rooted in the idea of transformation and change. Whether this change is brought about by technology or by spiritual means, the artwork suggests that we are all capable of bringing about profound changes in the world around us, and that these changes can have both positive and negative consequences. Through this artwork, Hirst prompts viewers to reflect on the nature of existence and their place within it, and to consider the spiritual implications of their actions and choices.

Then there’s the religious aspects of his body of work. Damien Hirst's use of animal carcasses and dissections in his artwork can also be seen as a reference to biblical themes of covenant and sacrifice.

In the Bible, animal sacrifice was a common practice in ancient Israel and was seen as a way of renewing the covenant between God and his people. Part of the ritual involved the cutting in half of an animal, as a sacrifice, then walking between the animal and if any person were to break this covenant, then they too would be cut in half. The blood of the sacrificial animal was believed to cleanse sin and purify the altar. Hirst's use of animal carcasses and dissections can be seen as a commentary on the idea of sacrifice and renewal, and may be intended to provoke a visceral response in viewers that forces them to confront their own mortality, but it can also bring into question for the audience their religious values and beliefs. At the same time, Hirst's use of animal carcasses can be interpreted as a critique of the excesses of contemporary consumer culture, which values material possessions and instant gratification over spiritual or moral values. By presenting these carcasses in the context of contemporary art, Hirst invites viewers to question their own values and to consider the impact of their actions on the natural world as well as religious doctrine. Side note: The phrase, “Cut a deal” has it’s origins in the cutting (sacrificial slaughter) of animals.

Some look at a Damien Hirst artwork and can’t move beyond the literal interpretation; they may only ever see a shark in a tank, or a cabinet of pills; but there are complexities in the non-literal interpretations of his artworks that offer audiences a contemplation on time, existentialism, and spirituality.