Imagine a five-meter shark frozen forever in an immense aquarium. This vision, straight out of a science-fiction film, became reality thanks to Damien Hirst. In 1991, the British artist revolutionised contemporary art with a radically new approach: the fossilisation of real animals in formaldehyde. This innovative technique permanently halts organic decomposition, turning animal carcasses into immortal works of art. It builds an unprecedented bridge between science and aesthetics, challenging our perceptions of mortality.
Damien Hirst's Fossilisation Techniques in Contemporary Art
It all begins with a process reminiscent of the most advanced scientific laboratories. The fossilisation technique developed by Damien Hirst relies on formaldehyde, a chemical compound with exceptional preservative properties. This revolutionary approach involves injecting formaldehyde directly into the animal's body, then immersing it in a 7% formalin solution for several weeks. This method, refined with the help of Oliver Crimmen, curator at the Natural History Museum in London, guarantees optimal preservation of the specimens.
The fossilisation process literally transforms organic tissues: the formaldehyde hardens the flesh, making it resemble rubber. The fossilised animals lose their putrescible appearance while retaining their original form. This technique maintains the structural integrity of the specimens for decades, creating an illusion of life suspended in time.
Preparation demands surgical precision. Each animal must be treated individually according to its size and constitution. The 4.25-meter sharks require 850 litres of formaldehyde, while the lambs make do with smaller volumes in tanks adapted to their dimensions.
The Natural History Series: How Damien Hirst Turns Animals into Eternal Art
Damien Hirst's Natural History series, begun in 1991, today comprises more than twenty iconic works. This collection presents a remarkable diversity of fossilised animals : tiger sharks, cows, calves, sheep, pigs, and even a bear and a zebra. Each specimen is displayed in glass and steel vitrines of monumental dimensions, creating an effect of a modern cabinet of curiosities.
The flagship work "The Physical Impossibility of Death in the Mind of Someone Living" presents a five-meter shark in a 22-tonne aquarium. This piece, sold for 8 million dollars in 2004 (Source: The Art Newspaper), perfectly illustrates Hirst's ability to transform animals into objects of exceptional value. Paintings of wild animals find their extension here in three dimensions, as can be seen in collections of animal paintings that explore this theme through other artistic forms.
The fossilisation technique allows Hirst to create serial works. "Mother and Child (Divided)" presents a cow and her calf cut longitudinally, exposing their internal organs. This approach transforms traditional animal art into a direct confrontation with mortality. The fossilised animals become contemporary memento mori, questioning our relationship with life and death.
The titles of the works reveal the artistic intent: "Away from the Flock" (1994), "The Ascension" (2003), "Heaven" or "The Incomplete Truth" endow the animals with a spiritual and philosophical dimension that transcends their mere biological materiality.
Formaldehyde as an Artistic Medium: Damien Hirst's Revolution
Formaldehyde constitutes Damien Hirst's revolutionary medium, transforming a chemical preservative into a creative tool. This substance, composed of hydrogen, oxygen and carbon, possesses preservative and antibacterial properties that instantly stop putrefaction. Hirst diverts this scientific use to create a unique art of fossilisation.
The innovation lies in the artistic application of a museum technique. Nineteenth-century natural history museums already used this wet preparation method, but Hirst transposes it into the contemporary art space. Formaldehyde thus becomes a chemical brush sculpting organic matter.
This approach presents considerable technical challenges. Formaldehyde is a flammable and carcinogenic gas requiring drastic precautions. Setting up the exhibition at the Gagosian Gallery in New York required a full month of preparation to guarantee visitor safety. Studies have revealed formaldehyde emissions exceeding recommended thresholds during certain exhibitions.
The medium also imposes a particular temporality. Unlike traditional artistic materials, formaldehyde provides only temporary conservation. The fossilised animals gradually deteriorate, requiring periodic replacement. Hirst's company Science Ltd now offers to replace any animal older than ten years.
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The Impact of Damien Hirst's Fossilised Animals on Contemporary Art
Damien Hirst's fossilised animals have had a considerable impact on the contemporary art market. In 2008, Sotheby's sold 223 of the artist's works for a record total, propelling Hirst to become the most expensive British artist after David Hockney and Lucian Freud. This economic valuation attests to the lasting influence of his fossilisation technique.
Hirst's approach has influenced a generation of contemporary artists exploring the relationships between art and science. His fossilisation method opened new aesthetic perspectives, legitimising the use of organic materials in contemporary art. The Young British Artists of the 1990s drew heavily on this transgressive approach.
The impact goes beyond the artistic sphere alone. Hirst's fossilised animals question our contemporary relationship with nature and death. In an urban society disconnected from biological reality, these works brutally confront the viewer with the materiality of organic life. This sociological dimension partly explains their success with the general public.
International museum institutions have widely integrated these works into their permanent collections: Tate Modern in London, the Museum of Modern Art in New York, the Astrup Fearnley Museet in Oslo. This institutional recognition definitively establishes fossilisation as a legitimate artistic technique.
Attendance figures are telling: the 2012 exhibition at Tate Modern attracted 463,000 visitors (Source: Egora), setting a record for a monographic exhibition of contemporary art. These figures demonstrate the enduring public appeal of Hirst's fossilised animals.
Conservation and Preservation: The Technical Challenges of Damien Hirst's Works
The conservation of Damien Hirst's fossilised animals poses unprecedented technical challenges in art history. Unlike traditional works, these pieces require constant upkeep and permanent chemical monitoring. The formaldehyde gradually evaporates, necessitating regular renewal of the preservative solution.
The ageing of fossilised animals follows a predictable process: the solution gradually becomes cloudy, colours fade and tissues disintegrate. "The Physical Impossibility of Death" thus required the complete replacement of the original shark in 2006, raising fundamental questions about artistic authenticity.
This preservation issue challenges the notion of originality in conceptual art. Hirst holds that artistic intent outweighs the materiality of the object: replacing the animal does not alter the work but perpetuates it. This philosophy revolutionises the traditional approach to artistic conservation.
Conservation techniques are constantly evolving. Conservators are developing new chemical monitoring methods, tracking pH levels and formaldehyde concentration. These technological innovations optimise the longevity of the fossilised animals while preserving their visual impact.
Preservation also involves environmental considerations. Storing and handling formaldehyde requires specialised facilities compliant with the strictest safety standards. This technical dimension turns an art exhibition into a complex logistical operation, redefining contemporary curatorial practices.
- The works require constant chemical monitoring
- Replacing specimens every ten years becomes standard
- Technological innovations constantly improve conservation techniques
- The environmental impact of formaldehyde imposes new constraints
- The conservation philosophy evolves towards accepting replacement
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Discover this painting →Frequently Asked Questions About Damien Hirst's Animal Fossilisation
How does Damien Hirst actually fossilise animals?
Damien Hirst uses a formaldehyde conservation technique: he injects the chemical into the animal's body, then immerses it in a 7% formalin solution for several weeks. This method hardens the tissues and permanently halts putrefaction.
Why must Hirst's fossilised animals be replaced?
Formaldehyde does not preserve specimens indefinitely. The solution becomes cloudy over time, colours fade and tissues deteriorate. Hirst considers that replacing the animal preserves the work's original artistic intent.
What types of animals did Damien Hirst fossilise in his works?
The Natural History series includes more than twenty species: tiger sharks, cows, calves, sheep, pigs, lambs, bears, zebras and even birds. Each animal is chosen for its symbolism and visual impact in the final work.
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