This formal tension
between colour and form results in an ambiguous field
of spatial
depth and
illusion, as seen in Sin Título (Untitled), 1955.
Accompanying Self's insightful and engaging text is an in -
depth interview
between Hirst and Hans Ulrich Obrist, Co-Director
of London's Serpentine Gallery, and also an essay by art historian andcurator Rudi Fuchs that considers and explores the significance
of «For the Love
of God» in relation to Hirst's oeuvre: «After all, Damien Hirst's art is concerned with love and fear, with death, malady, physical decay, medical practice and pharmaceutical
illusion... The inevitable proximity
of death is the most real thing in human life.
(Mexico City, Mexico) In this show, the works mean to establish a dialogue
between the mediums and techniques employed; drawing, watercolour and paint flow in lines creating surreal reliefs and
depth and perspective
illusions and invite the viewer to enter the tropical universe
of Pedro Varela.