Undoubtedly one of the most commercially successful artists of our time, he is not unfamiliar with critic’s condemnation. His recent efforts in Venice, Treasures from the Wreck of the Unbelievable, with the sculptural installations monstrous in size, thought and execution, picked up mixed reviews, including some critics saying it might just be the end of Hirst.
This new take on his “spot” paintings, reworked under the influence of Pierre Bonnard’s Pointillism, is certainly a shift. Soft, bright, colourful, taking from both art historical references and his previous work (taking a lot from his “Visual Candy” series from the 90-ies), reminiscent of flora and Iced Gems biscuits, they make multiple statements (or mockeries?) on contemporary painting.