Methamphetamine
Methamphetamine
Signed Print
Damien Hirst
£35,000-£50,000
$70,000-$100,000 Value Indicator
$60,000-$90,000 Value Indicator
¥320,000-¥460,000 Value Indicator
€40,000-€60,000 Value Indicator
$340,000-$490,000 Value Indicator
¥6,790,000-¥9,710,000 Value Indicator
$45,000-$60,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Aquatint
Edition size: 115
Year: 2004
Size: H 178cm x W 86cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2024 | Sotheby's New York | United States | |||
| April 2024 | Christie's New York | United States | |||
| October 2023 | Christie's New York | United States | |||
| April 2023 | Christie's New York | United States | |||
| January 2023 | Sotheby's Online | United Kingdom | |||
| September 2022 | Christie's London | United Kingdom | |||
| September 2022 | Phillips London | United Kingdom |
Meaning & Analysis
Methamphetamine is a print from 2004 by Damien Hirst. The print shows a rectangular grid-like composition made up of coloured dots evenly spaced from one another. Methamphetamine is based on Hirst’s famous Spots paintings, a series of over 1,400 works on canvas that depict coloured dots in grid-like compositions set against white backdrops.
Hirst’s artistic output is on a large enough scale to employ assistants across three different studios and as such, most of the Spots paintings were produced collaboratively. After painting a small number himself, Hirst created a system with a few basic rules that allowed for others to produce the Spots paintings for him. Every spot in each piece is a perfect circle, each the same size, hand-painted and arranged in a grid. The Spots paintings were ultimately about an exploration of colour combinations, with every spot on each canvas a different colour. The series therefore has become a set of works with endless possibilities and combinations.
Hirst has commented on the way in which these paintings are deceptively simple: “If you look closely at any one of these paintings, a strange thing happens: because of the lack of repeated colours there is no harmony. We are used to picking out chords of other colours to create meaning. This can’t happen. So in every painting there is a subliminal sense of unease: the colours project so much joy it’s hard to feel it, but it’s there. The horror underlying everything. The horror that can overwhelm everything at any moment.”
