DAMIEN HIRST (Bristol, UK, 1965). "Ethylamine," 2011-2012. Woodcut, copy 26/55. Signed in the lower right corner. Justified on the back. Measurements: 29 x 43 cm; 36 x 50 cm (frame). From the beginning of his career, Hirst was interested in the possibilities of printmaking and multiple imaging, with the intention of transcending the minimalist legacy and placing the hottest contemporary issues in the limelight. The stain paintings he first introduced in 1988 offered a natural subject for printmaking. For the original series of pharmaceutical paintings, Hirst invented a grid with a single rule: in each work, all colors could be used only once. As etchings, the stains seduce with the exuberance of their colors, although the process itself is technically demanding and laborious, as each stain must be individually inked before printing. The titles of each spot come from chemicals used in the pharmaceutical industry. The underlying idea in this series is the critical commentary on the role that science has assumed as the new god that promises us eternal youth and health. The essentialist appearance of the prints in the "Spot Prints" series embodies key aspects of Hirst's artistic approach: scientific references, minimalism, seriality and randomness. The circular form evokes infinity and eternity, life and death being part of the same cycle. Damien Hirst was born in Bristol on June 7, 1965, in a suburban environment with economic problems. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect; wrapped in an aura of romanticism, he made revolutionizing the art world look easy. Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections.