The Cure (deep sky blue, electric purple, lipstick red)
The Cure (deep sky blue, electric purple, lipstick red)
Signed Print
Damien Hirst
£6,500-£9,500
$12,500-$19,000 Value Indicator
$11,500-$17,000 Value Indicator
¥60,000-¥90,000 Value Indicator
€8,000-€11,500 Value Indicator
$60,000-$90,000 Value Indicator
¥1,280,000-¥1,870,000 Value Indicator
$8,500-$12,000 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: Screenprint
Edition size: 15
Year: 2014
Size: H 72cm x W 51cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Meaning & Analysis
The Cure (deep sky blue, electric purple, lipstick red) is a silkscreen print by Damien Hirst on Somerset Tub. In this print, produced in 2014, Hirst depicts a large pill. The pill dominates the centre of the composition and is rendered in bright and vibrant colours. Hirst uses two colours for the pill, electric purple and lipstick red, these warm colours contrast with the cool deep sky blue background. The bold colours are reminiscent of the Pop Art aesthetic popularised by Andy Warhol in the 1960s.
The Cure (deep sky blue, electric purple, lipstick red) is one of thirty silkscreen prints that compose Hirst’s The Cure series. The series is inspired by the marvels of modern medicine and the powerful pharmaceutical industry which assumes an important role in 21st century society. The minimalist aesthetic of the medicinal pill reflects the confidence of the pharmaceutical industry in their pharmaceutical products and their ability to heal and cure everyone and everything.
Hirst has a long-standing interest in medicine and pharmaceuticals which he has explored in other works such as the Medicine Cabinet series and Eat the Rich. By making a pharmaceutical product into art, Hirst blurs the strict dichotomy between art and science, demanding that we appreciate the art behind science.
