<Image src="https://resources.heni.com/000f5029-4e63-4b57-bc21-6bf0a951b073.jpg"legend="" />

**HENI Editions is delighted to present ‘Rubikcubism’ by Invader, four colour-filled prints from Invader’s acclaimed series of artworks using Rubik’s Cubes.  **

The prints are composed of Diasec-mounted Giclée on aluminium composite panel, each measuring 100 x 100 cm, and priced at $3,000 (plus any applicable taxes). The number of editions produced will be limited by demand during the drop window, which opens on 2 February 2023 and will last ten days, closing on 12 February 2023 at 23:59 GMT.

<Quote src="Invader">To create these artworks, I spent days in my studio twisting cubes, like painters would do mixing colours on their palette.</Quote>

<Carousel images={[ { "src": "https://resources.heni.com/bc75ccb0-bce4-4953-a2fb-e2c3de193044.jpg", "legend": "Invaded Cube (NVDR1-1) from Rubikcubism, Invader, 2023"}, { "src":"https://resources.heni.com/680f973f-15cc-4da6-b997-621e62e4d075.jpg", "legend": "Rubik Camouflage (NVDR1-2) from Rubikcubism, Invader, 2023"}, { "src": "https://resources.heni.com/9638cdf1-c171-4d97-b8c2-7ca1c691acd9.jpg", "legend": "Rubik Country Life (NVDR1-3) from Rubikcubism, Invader, 2023"}, { "src": "https://resources.heni.com/564f9ccb-809c-4209-84b6-31d0d9013fbc.jpg", "legend": "Rubik Shot Red Marilyn (NVDR1-4) from Rubikcubism, Invader, 2023"}]} />

<Button href="https://heni.com/editions/rubikcubism">View Edition</Button>

Begun in 2005, Invader's 'Rubikcubism' series of sculptures constructs images solely using the six-colour palette and square tiles found on a Rubik's Cube. In doing so, the resulting images convey a similar impact to the abstractions of Pointillism or Cubism, with the subject of the artwork made visible only through physical distance or when viewed through a smartphone.    

The 'Rubikcubism' prints represent highlights from Invader's series thus far, translating the original sculpture-images into a new medium and format. *Invaded Cube* is a Rubik's Cube with the artist's logo, and *Rubik Camouflage* uses the Rubik's Cube to replicate his iconic alien motif. *Rubik Country Life* emerges from his 'Rubik Low Fidelity' series of works after the covers of his favourite albums, while *Rubik Shot Red* Marilyn is a highlight from his 'Rubik Master Pieces' series of tributes to great artworks. Though each distinct, the prints remain unified under the same aesthetic, which fuses inspiration from video games and pop culture. 

<Carousel images={[ { "src": "https://resources.heni.com/f2e7eba5-69e0-4c4c-bb14-5d90d3c9bd99.jpg", "legend": "Detail of Invaded Cube (NVDR1-1) from Rubikcubism, Invader, 2023"}, { "src":"https://resources.heni.com/8e472136-37e4-48c3-9ad6-970e2bdb28ea.jpg", "legend": "Detail of Rubik Camouflage (NVDR1-2) from Rubikcubism, Invader, 2023"},{ "src": "https://resources.heni.com/e81a7b09-f1ba-48f3-b2f7-99c0eead7f22.jpg", "legend": "Detail of Rubik Country Life (NVDR1-3) from Rubikcubism, Invader, 2023"},{ "src": "https://resources.heni.com/291ec41c-5a2d-444e-a846-18d4bbac6d00.jpg", "legend": "Detail of Rubik Shot Red Marilyn (NVDR1-4) from Rubikcubism, Invader, 2023"}]} />
 
**About Invader**
<br>The elusive street artist Invader uses his now-ubiquitous pixelated characters to bring the digital world to the physical world and art to the masses. Self-described as an Unidentified Free Artist (UFA) whose identity is perennially hidden behind masks and digital pixelations, his pseudonym reflects his artistic practice – to invade public spaces with art. 

What started as a playful attempt to make his art more publicly visible by pasting his first mosaic onto a Parisian wall in 1998 now consists of over 4,000 works on a global scale. Invader’s artwork was even the first art to be exhibited in space and can be found on the International Space Station. 

Invader has challenged the traditional boundaries of the art world, holding solo exhibitions at prestigious galleries from Paris to Osaka. Though he has never abandoned his dedication to street art, Invader has expanded his practice into new media, shown in his 'Rubikcubism' series where he creates painting-sculptures made with Rubik's Cubes. 

<Video type="vimeo" src="https://vimeo.com/792961000/1c7c952e99" legend="Rubikcubism - Invader" />

**HENI GALLERY**
<br>All four ‘Rubikcubism’ prints are on display at the HENI Gallery. Admission to the gallery is free, with no appointment required. 

**HENI Gallery**
<br>6-10 Lexington St, 
<br>London W1F 0LB, 
<br>United Kingdom 
<br>Open seven days a week, 10am–6pm

<Button href="https://heni.com/editions/rubikcubism">View Edition</Button>


HENI Editions is delighted to present ‘Rubikcubism’ by Invader, four colour-filled prints from Invader’s acclaimed series of artworks using Rubik’s Cubes.

Invader – Rubikcubism

The six shortlisted artists are: Jes Fan (born 1990, lives and works in Hong Kong and New York), Miao Ying  (born 1985, lives and works in New York), Wang Tuo (born 1984, lives and works in Beijing), Xie Nanxing (born 1970, lives and works in Beijing and Chengdu), Trevor Yeung (born 1988, lives and works in Hong Kong), and Yu Ji (born 1985, lives and works in Berlin). 

M+ announces the six artists shortlisted for the second edition of the Sigg Prize

Artists include Chen Man, the leading artist and photographer who has shot covers for Vogue and GQ, Yue Minjun, the art market star whose work is in the collections of major museums including SFMoMA and the Denver Art Museum, and Mr. StarCity, whose work has sold for six figures at Christie’s and Phillips.

LiveArt, Founded by Sotheby’s and Christie’s Veterans to Bring World-renowned Chinese Artists into Digital-art Space for the First Time

<Image src="https://resources.heni.com/60dbd5b7-5dd9-4d04-a0c4-ff570a5f208a.jpg" legend="" />

**HENI is delighted to offer a selection of the most sought-after Warhol editions, through our online secondary market platform HENI Leviathan.**

To mark the end of a momentous year, we turn to a reflection on the late monarch’s international standing and unparalleled status by one of the most iconic artists of the 20th century, Andy Warhol. Produced towards the end of his career, Warhol attempts to allow viewers a glimpse of Queen Elizabeth’s rarefied world. More information on the editions can be found below on HENI Leviathan.

These fascinating portraits of the late Queen Elizabeth II were created by Warhol in 1985, as part of his 'Reigning Queens' series of screen prints dedicated to four female monarchs ruling at the time of production, exploring themes of female power and social hierarchy. 

As in his other iconic series of portraits, these royal subjects combine Warhol’s trademark ‘glamour shot’ with the norms of official portraiture. For the artist, who was obsessed with notions of beauty and fame, the Queen assumes the same double role of political symbol and cultural icon as demonstrated in *Shot Sage Blue Marilyn* (1964), which shattered records this year, fetching the highest price paid for an American artwork sold at auction. 

<Carousel images={[{ "src":"https://resources.heni.com/88a76026-a7ed-4b5f-ad9f-08e6143b276d.jpg", "legend": "Queen Elizabeth II F.S. 334A (Royal Edition AP) from Reigning Queens, Andy Warhol, 1985"}, { "src": "https://resources.heni.com/8e9ef81d-a036-4f42-aeae-b13dceac6a72.jpg", "legend": "Queen Elizabeth II IIB 334-337 (TP), from Reigning Queens, Andy Warhol, 1985"}, { "src": "https://resources.heni.com/eb1fd7f4-c705-4d75-935e-320b2b829198.jpg", "legend": "Queen Elizabeth II F.S. II 337 (Blue) (TP) from Reigning Queens, Andy Warhol 1985"}]} />

For a limited time, HENI Leviathan Marketplace presents an exceptionally rare Artist Proof of 5 from the 'Royal Edition' set, which features Queen Elizabeth II enriched by ‘diamond dust’, only added to Warhol’s most prized portraits. 

HENI also has on offer a Trial Proof, produced in the course of Warhol adjusting and developing the final image. It is, therefore, a one-of-a-kind, ultra-rare artwork, unveiling Warhol’s artistic process and aesthetic choices. 

The final edition, featured on HENI Leviathan Marketplace, sees the royal bust juxtaposed with a deep blue background, evoking the iconic colours of the British flag.

Portraits from two of these series were included in the exhibition *The Queen: Portraits of a Monarch* held at Windsor Castle in 2012 and were subsequently acquired for the Royal Collection. 

Warhol remains an icon of the contemporary art world for his innovative approach to mechanical and silk screen printing techniques. His unique portraits of Queen Elizabeth convey a sense of dynamism and animation that perfectly encapsulates the late monarch’s inscrutable personality.

<Button href="https://leviathan.heni.com/product-artist/andy-warhol/">View Collection</Button>

HENI is delighted to offer a selection of the most sought-after Warhol editions through our online secondary market platform, HENI Leviathan Marketplace.

Andy Warhol – Queen Elizabeth II from 'Reigning Queens'

<Image src="https://resources.heni.com/d463abec-499b-4480-b082-a99bf292ae04.jpg" legend="" />

## January

HENI started off the year with the exciting announcement that Damien Hirst's *The Currency* would become [the first NFT project to use Chainlink's industry-leading oracles](https://heni.com/blog/article/the-currency-now-uses-chainlink-oracles) to integrate up-to-date pricing information into the blockchain.

We were also proud to release ['The Empresses'](https://heni.com/blog/article/the-empresses-damien-hirst), a striking series of prints by Damien Hirst. We offered the 'The Empresses' as both physical prints and as HENI Editions NFT Deeds™, a new category of NFT providing greater flexibility for collectors.

<Image src="https://resources.heni.com/d52a1d80-75a6-467b-b9c3-d90dccdecd34.jpg" legend="The Empresses, Damien Hirst, 2022" />

## February

Excitement surrounding 'The Empresses' carried into February, as we exhibited the prints at the [HENI Gallery in Soho](https://heni.com/blog/article/the-empresses-viewing), enabling collectors to examine the intricacies of the works firsthand.

February was also a busy month for HENI Art Club, which presented a number of exciting talks for its members. Among these was an [insightful presentation from Dr. James Fox](https://heni.com/blog/article/james-fox-hac-event), the award-winning broadcaster, Cambridge art historian, author, and curator, exploring the history and cultural significance of colour throughout time. We also hosted a [conversation with James Birch](https://heni.com/blog/article/bacon-in-moscow), who, as a young British curator in 1988, mounted a ground-breaking retrospective of Francis Bacon's work at the newly refurbished Central House of Artists, Moscow. James's recently published memoir *Bacon in Moscow* became available to HENI Art Club members via the eBook library.

Readers also saw [HENI Publishing's release of *MadC: Street to Canvas*](https://heni.com/blog/article/madc-street-to-canvas), the first monograph on the world-renowned contemporary artist and muralist MadC, featuring paintings exhibited at HENI Gallery in 2021.

<Image src="https://resources.heni.com/36d9db66-4cf5-4906-a764-9dc41551e300.jpg" legend="MadC: Street to Canvas, Luisa Hesse, 2021" />

## March 

March got off to an exciting start with an exclusive HENI Art Club virtual event, "Full of Nervous Life: Rediscovering Keith Cunningham", where HENI's own art historian Dr. Laura Spada explored the extraordinary life and work of the Australian artist. Later in the month, HENI Art Club members were also invited to a virtual talk with internationally-renowned art historian and former Head of Research at the Victoria and Albert Museum, [Paul Greenhalgh](https://heni.com/blog/article/paul-greenhalgh-ceramic-art-and-civilisation), on the history of ceramics.

We closed out the month with another exciting HENI Publishing release: [Annette Messager's *Tête à Tête*](https://heni.com/blog/article/annette-messager-tete-a-tete), the first book dedicated to the drawings of this trailblazing artist, including numerous never-before-seen works.

<Image src="https://resources.heni.com/eab500dd-5a8c-4338-bab4-cd0b096526b6.jpg" legend="Paul Greenhalgh: Ceramic Art and Civilisation HAT" />

## April

The coming of spring ushered in a flurry of activity at HENI, starting with a particularly exciting event for the HENI Community. In his second live AMA, Damien Hirst answered questions from the HENI Discord community, discussing everything from *The Currency* to his own views on life, creativity, and the value of money.

Also in April, HENI Art Club hosted its first [Collecting Masterclass, led by James Baskerville](https://heni.com/blog/article/collecting-masterclass-prints-and-multiples), prints and multiples specialist and Head of Sale for Banksy Editions at Christie's, who provided valuable insight into starting or building a prints collection. HENI Art Club members also gained digital access to every Francis Bacon artwork at their fingertips as the landmark [*Francis Bacon: Catalogue Raisonné* ](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-francis-bacon-catalogue-raisonne-is-now-available-on-heni-art-club)became available on the HENI Art Club eBook library. 

New books from HENI Publishing rounded off April, including two particularly thought-provoking titles: [*Calais. Testimonies from the 'Jungle' 2006-2020* by Bruno Serralongue](https://heni.com/blog/article/bruno-serralongue-calais-testimonies-from-the-jungle) publishes for the first time Serralongue's riveting photographs of refugee journeys, while [Tommy Kane's *Vegan Art: A Book of Visual Protest*](https://heni.com/blog/article/vegan-art-tommy-kane) confronts animal farming head-on through a collection of artworks.

<Image src="https://resources.heni.com/f296496c-b9fc-466c-be6b-66dc5606556e.jpg" legend="Francis Bacon: Catalogue Raisonné" />

## May

May was a particularly exciting month in the world of NFTs, starting with an exciting new release by MadC. The internationally-renowned street artist launched [*Color Rhythms*,](https://heni.com/blog/article/color-rhythms-madc) her first collection of innovative NFTs, exclusively available through HENI. This boundary-pushing collection combined a sophisticated algorithm and machine learning-generated titles with works from MadC's physical practice.

*The Currency* collectors also saw some special activations in May. There had been many suggestions from the community for a framing solution for The Currency, so HENI Leviathan was delighted to [release a custom frame for *The Currency*](https://heni.com/blog/article/the-currency-frame). The Currency Frame allows holders of physical Tenders to display their artworks showing both the front and the back in the best possible way. Members of *The Currency* NFT community were also invited to an [exclusive tour of Damien Hirst's London studios](https://heni.com/blog/article/the-currency-studio-visit), where they received signed paper spin paintings and learned more about Damien's artistic process.


HENI Talks added to its art historical collection with an insightful presentation by [British Museum Director Hartwig Fischer](https://d13bg9qt03gn5y.cloudfront.net/blog/article/richard-westmacotts-pediment-sculptures-for-the-british-museum) on the museum's pediment sculptures, which included stunning, detailed footage of the sculptures filmed by drone.

Finally, we wrapped up the month with another great HENI Art Club event, this time hearing from contemporary artist [Chila Kumari Singh Burman on her boundary-breaking multimedia career](https://d13bg9qt03gn5y.cloudfront.net/blog/article/conversation-with-chila-kumari-singh-burman-).

<Image src="https://resources.heni.com/f0f20979-a187-4d71-817e-b673e8b887f7.png" legend="The Currency Frame" />

## June

June began with the HENI Editions and Fondation Beyeler release of [six limited-edition Peter Doig prints](https://d13bg9qt03gn5y.cloudfront.net/blog/article/zermatt-peter-doig) based on his original ‘Zermatt’ snowscape paintings from 2020 and 2021. This exciting release, which comprises Doig’s first thematic group of works, was accompanied by an exhibition of the prints at the HENI Gallery in Soho.

In June we were also delighted to launch [the new HENI News](https://d13bg9qt03gn5y.cloudfront.net/blog/article/introducing-heni-news), which uses the latest machine learning technology to bring together all the latest art and NFT news from thousands of sources into one accessible platform. This new free-to-use platform became available online and as an app for iOS and Android.

Later in the month, [Dr. Brad Evans, Professor of Political Violence & Aesthetics at the University of Bath](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-artist-as-transgressive-witness-to-history-hac-event), treated HENI Art club members to a talk on the importance of art as a transgressive witness to history, referencing some of art's most famous works that have been used to document historical events.

HENI Publishing released two wonderful new editions of books by artist Sabine Moritz: [*JENA Düsseldorf*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/sabine-moritz-jena-duesseldorf) and [*Lobeda*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/sabine-moritz-lobeda), which feature hundreds of the artist's sketches and paintings.

<Image src="https://resources.heni.com/f86d7527-efa2-4f66-84d5-2051eb8b03b1.jpg" legend="D1-3 Lost, Zermatt, Peter Doig, 2022" />

## July

On 14 July, we celebrated [the first anniversary of the HENI Discord](https://d13bg9qt03gn5y.cloudfront.net/blog/article/discord-anniversary), which was created to coincide with the original launch of Damien Hirst's *The Currency* in 2021. In its first year, the HENI Discord flourished thanks to the community, the projects and activities within the server inspiring and building upon the work of the artists involved.

This month, [the exchange window for *The Currency* closed](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-currency-by-damien-hirst-exchange-period-closed), and we followed along as collectors made a final decision whether to keep the NFT or physical version of their *The Currency* Tender.

Another exciting event took place for HENI Art Club members, who were invited to [an exclusive talk about the iconic late architect, designer, and artist Zaha Hadid](https://d13bg9qt03gn5y.cloudfront.net/blog/article/zaha-hadid-hac-event) at her former architectural office in London.

<Image src="https://resources.heni.com/401bbbb2-b1be-4242-8edf-5bc39e14c0b6.jpg" legend="HENI Discord Infographic" />

## August

August was a big month for collectors of Damien Hirst's 'The Empresses'. The period began in which holders of the innovative HENI Editions NFT Deed versions of 'The Empresses' [could exchange their NFT Deed for a stunning physical print of the work.](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-empresses-redemption-period-open)

<Image src="https://resources.heni.com/63cbf32b-0b88-4995-b044-4d076c9207c8.jpg" legend="Detail of H10-1 Wu Zeitan, The Empresses, Damien Hirst, 2022" />

## September

Autumn ushered in some of the most exciting events of the year at HENI, particularly surrounding Damien Hirst's *The Currency*. [HENI opened the exhibition for this iconic project at Newport Street Gallery on 23 September, displaying all 10,000 works from *The Currency*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-currency-exhibition) before the burning period started.

Before the exhibition officially opened to the public, however, we held an exclusive preview for holders of *The Currency* NFT. Alongside the exhibition, [HENI also opened The Pharmacy Café](https://d13bg9qt03gn5y.cloudfront.net/blog/article/heni-pharmacy-cafe) at Newport Street Gallery, exclusive to HENI community members, where they could enjoy refreshments and submit their thoughts on the exhibition.

In September we introduced the [HAT, or HENI Attendance Token,](https://d13bg9qt03gn5y.cloudfront.net/blog/article/heni-attendance-tokens) a new type of digital attendance token serving as a collectible memento for all kinds of HENI events. For example, visitors of The Pharmacy were able to claim a HENI Attendance Token (HAT) to mark the occasion, but also digital attendees of HENI Art Club events  are able to receive the HATs.

To coincide with the exhibition, [HENI Editions released a series of 1,000 Unique Prints showing close-up details from *The Currency*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-currency-unique-prints-damien-hirst) artworks, shot in extremely high resolution to offer a completely new perspective on the works.

Rounding off this month of exciting events, [HENI Publishing released *The Currency: Chronicles Vol. 1*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-currency-chronicles), the first in a series of works chronicling Damien Hirst's *The Currency* project. This first volume features a detailed summary of the background and production of the project, as well as more than 150 reflections from members of HENI's *The Currency* Discord community. 

<Image src="https://resources.heni.com/8c644aaa-2c46-48a6-8731-507c6335ad22.png" legend="The Currency Exhibition Burn Room at Newport Street Gallery" />


## October

The excitement surrounding *The Currency* continued into October with [the launch of *The Currency* online merchandise shop](https://d13bg9qt03gn5y.cloudfront.net/blog/article/heni-merchandise-shop), making our exclusive, custom-designed, *The Currency*-inspired merchandise available for remote purchase.

HENI also celebrated *The Currency* exhibition and one year of the project with [the Connect the Dots party](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-currency-preview-and-connect-the-dots-events), a private gathering of *The Currency* collectors from all over the world held at The Pharmacy Café at Newport Street Gallery.

On October 11, Damien Hirst started the burning process of *The Currency* by burning the 1,000 physical paintings that he personally kept as digital artworks. At the end of the month [NFT holders were granted the opportunity to watch the burning of the physical version of their own digital artwork](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-currency-in-person-burns) in-person at Newport Street Gallery, also receiving a HAT for the event.

HENI Talks released the first in a series of exclusive screenings of art and architecture documentaries by filmmaker Michael Blackwood, *American Art in the 60s*, featuring interviews and footage of iconic figures such as Andy Warhol and Helen Frankenthaler. To coincide with the screening, [HENI Art Club hosted a talk by art historian Dr. Stephen Moonie](https://d13bg9qt03gn5y.cloudfront.net/blog/article/american-art-in-the-1960s-hac-event) that used Blackwood's film to explore the art of this revolutionary era.

<Image src="https://resources.heni.com/fc917347-7f30-4501-a80d-ce1af4ea6dd2.jpg" legend="Connect the Dots Community Party" />


## November

HENI's digital presence received a makeover in November, with the release of exciting new features and platforms. Both the [HENI homepage](https://d13bg9qt03gn5y.cloudfront.net/blog/article/new-heni-homepage) and the [HENI Editions](https://d13bg9qt03gn5y.cloudfront.net/blog/article/new-heni-editions-site) site got upgrades, with streamlined, intuitive designs and new interactive features that improve the user experience.

[We launched HENI Primary](https://d13bg9qt03gn5y.cloudfront.net/blog/article/introducing-heni-primary), designed specifically for artists to release original works of art on a dedicated digital platform, bringing the traditional fine-art experience online.

[Damien Hirst's 'Paper Veils'](https://d13bg9qt03gn5y.cloudfront.net/blog/article/damien-hirst-paper-veils) were the first works to be released on the new HENI Primary platform, a series of original paintings on paper available for purchase by application.

HENI Art Club, meanwhile, hosted an exclusive talk with renowned art critic and author Martin Grayford on his new book [*Love Lucian: The Letters of Lucian Freud 1939-1954*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/heni-art-club-love-lucian-the-letters-of-lucian-freud-1939-1954).

HENI Publishing also released two exciting new titles: [Nesma Shubber's *Suad al-Attar*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/suad-al-attar-nesma-shubber), the most comprehensive published collection of work by the title artist; and [*On the Street*](https://d13bg9qt03gn5y.cloudfront.net/blog/article/edwin-heathcote-on-the-street), a collection of 101 essays and personal recollections by legendary Financial Times architecture and design critic Edwin Heathcote.

<Image src="https://resources.heni.com/17e965ef-1bd1-4f46-b709-a145dfbe8fbc.jpg" legend="Paper Veils, Damien Hirst, 2019" />


## December

The year ended on a high note with the release of more insightful art historical resources for the HENI community in December. [Art historian and critic James Hall enlightened HENI Art Club members on the history of the legendary artist's studio, from Ancient Greece up to today](https://d13bg9qt03gn5y.cloudfront.net/blog/article/the-artist-s-studio-a-talk-by-james-hall). On HENI Talks, the second of our featured Michael Blackwood documentaries, *Christo and Jeanne-Claude*, became available to view, offering a humour-filled portrait of this daring husband-and-wife artistic duo.

In December we also launched a collection of new *The Currency* wearable merchandise, exclusively available for purchase by holders of *The Currency* NFTs. Including new t-shirts and sweaters, these collectible items made the perfect holiday gifts for fans of *The Currency*.

<Image src="https://resources.heni.com/657ab964-70a9-4612-8976-9660a2543ce4.jpg" legend="James Hall: The Artist's studio HAT" />


HENI 2022, Year in Review

<Image src="https://resources.heni.com/657ab964-70a9-4612-8976-9660a2543ce4.jpg" legend="" />

**HENI Art Club presents "The Artist's Studio", a talk by James Hall. Discover the fascinating history of the artist’s studio in our upcoming event with art critic and historian, James Hall.**

The artist’s workplace has always been an imaginary as well as an actual location, an idealised utopia as well as the domain of dirty, back-breaking work. From Ancient Greece to the present day, Hall will uncover the myth and reality of these private creative spaces. Written descriptions, paintings, prints, and even photographs of the artist’s atelier distort this reality as much as they document it. Leading authority on the subject James Hall will bring these spaces to life, uncovering the little-known reality of the artist’s studio.

We will run a competition for one person to win a physical copy of Hall's book, *The Artist's Studio: A Cultural History*. At the start of the event, we will ask you three questions. Email help@heniartclub.com with the correct answers once the event has ended to be entered to win.

*The Artist's Studio: A Cultural History* is available for HENI Art Club members to purchase in the print bookshop at a 25% discount.

All attendees will receive a HAT (HENI Attendance Token).

<Button href="https://www.heniartclub.com/previous-events/">View Talk</Button>

<Button href="https://www.heniartclub.com/product/the-artists-studio-a-cultural-history/">View Book</Button>

HENI Art Club presents "The Artist's Studio", a talk by James Hall.

The Artist's Studio – James Hall

Modern Two will reopen on 29 April 2023 with a new exhibition, Decades: The Art of Change 1900-1980.All the works are coming from the Gallery’s own collection.


Modern Two to open again next month with new exhibition

Set to be the largest graffiti and street art-focused show in China, “City As Studio” celebrates over 100 works of art from seminal figures like Jean-Michel Basquiat, Keith Haring, FUTURA, KAWS, Shepard Fairey, Todd James, Os Gemeos, Kenny Scharf, and Martin Wong, to name a few.

K11 Musea Introduces Hong Kong’s First Major Exhibition Dedicated to Graffiti and Street Art

Colourful spots, animals frozen in time, glorious butterfly wings and a skull set with diamonds are just some icons of Damien Hirst’s boundary-redefining career. Internationally recognised for his irreverent approach to artmaking, blurring the lines between media and expanding their possibilities, Hirst has helped set contemporary art on a practically limitless course. Through a decisive interplay of technology, technique and material, Hirst’s artworks engage with his signature themes of love, death, religion, science, belief and beauty to create works that are both visually and conceptually compelling.

Hirst was born in 1965 in Bristol, grew up in Leeds and moved to London in 1984. While studying at Goldsmiths School of Art from 1986-89, Hirst invented two fundamental series: his ongoing ‘Spot Paintings’, made up of meticulously rendered spheres of random colours arranged in perfect grid systems; and his ‘Medicine Cabinets’, an early investigation into science, medicine and systems of belief and trust that resurfaces across his oeuvre.  

In 1992, Hirst unveiled arguably his most iconic work ‘The Physical Impossibility of Death in the Mind of Someone Living’ (1991), a four-metre-long tiger shark preserved in a tank of formaldehyde, and inserted his ‘Natural History’ series into the public consciousness. These sculptures simultaneously confront viewers with their own mortality and the unavoidable fate of death.

Hirst’s enduring confrontations with death emerge again in his butterfly works. Since his 1991 exhibition ‘In and Out of Love’, he has continued to readapt the butterfly motif. Hirst produces awe-inspiring compositions using their wings, as in his ‘Kaleidoscope’ series began in 2001, a formula that has entered a new chapter in the HENI prints series ‘The Aspects’ (H6, 2019), ‘The Elements’ (H6, 2020) and ‘The Empresses’ (H10, 2022). In these collections, the technology and materiality of the prints advance the symbolic resonance of the butterfly, standing for the possibility of beauty in death. 

Since 1994, Hirst has produced his joyful ‘Spin Paintings’. These works are made with minimal artist intervention, the final product reliant only on colour choice and force of movement. These paintings inspired ‘Enter the Infinite’ (H1, 2016), 12 jacquard-woven tapestries that constitute further delegation of the artistic process to a machine. ‘The joy of colour’ and colour relationships are themes to which Hirst frequently returns, as in ‘Colour Charts’ (2012), ‘Colour Space’ (2016), ‘Veil Paintings’ (2017) and their eponymous print series. 

In 2017, Hirst revealed ‘Treasures from the Wreck of the Unbelievable’, which include hundreds of sculptures and drawings apparently salvaged from a shipwreck. This project foregrounded Hirst’s interest in belief systems, questioning structures that attract trust and value. Hirst’s 2021 project ‘The Currency’ further explores this idea, asking collectors to choose between the traditional medium of painting and the contemporary NFT, forcing them to put faith in where they see value. 

From 2018-20, Hirst produced ‘Cherry Blossoms’. The monumental canvases, entirely covered in dense, bright colours, envelop the viewer in a vast landscape of blooming trees that traverses the boundaries of figuration and abstraction. From these works, Hirst made his ‘Fruitful & Forever’ (H8, 2020) and ‘The Virtues’ (H9, 2021) print series, playfully presenting macro and micro details of the paintings that bring their tactile impasto to the fore. 

Hirst’s name is synonymous with contemporary art, continually pushing the boundaries of traditional approaches to and conceptions of the artwork. Hirst’s prints, editions and multiples are a fundamental part of this practice. Though wide-ranging in nature, together these works are magnificent exercises in how technique, technology and materiality can be manipulated to enhance the discourse and reception of Hirst’s subjects. 

Damien Hirst

Colourful spots, animals frozen in time, glorious butterfly wings and a skull set with diamonds are just some icons of Damien Hirst’s boundary-redefining career. Internationally recognised for his irreverent approach to artmaking, blurring the lines between media and expanding their possibilities, Hirst has helped set contemporary art on a practically limitless course. Through a decisive interplay of technology, technique and material, Hirst’s artworks engage with his signature themes of love, death, religion, science, belief and beauty to create works that are both visually and conceptually compelling.

Peter Doig’s visionary paintings and prints transform ordinary moments from life into enthralling compositions bursting with colour. His practice is in constant conversation with his itinerant lifestyle, resulting in images with suggestive narratives that are deeply embedded in the artist’s sense of place. Doig’s works are personal reflections on his life experiences and the world that surrounds him, drawing on memories and stories to construct relatable images. 

Born in 1959 in Edinburgh, Doig’s early life was nomadic, spent across Trinidad, Canada and Britain. In 1979 Doig began his studies at Wimbledon School of Art, moving on to Central St. Martins for his BA before receiving his MA in 1990 from Chelsea College of Art. Whilst at Chelsea, Doig created what would become some of his most famous paintings, including ‘Milky Way’ (1989-90) – a superb work exemplifying his reverence for nature. Doig's highly representational style, self-described as “filmic” and infused with a sense of solitude, stood in sharp contrast to the conceptual and minimalist art that consumed his peers in London at the time. 

After Chelsea, Doig’s output during the 1990s was exceptionally fruitful. His subject was often Canadian snowscapes, turning out generative works such as ‘Blotter’ (1993), ‘Ski Jacket’, (1994) and ‘Olin MK IV’ (1995-96). In 1991 he won the Whitechapel Young Artist Award, and in 1994 he was nominated for the Turner Prize. 

In 2000, Doig won an artist residency in Trinidad and returned to the island for the first time since childhood. During this period, he resumed painting his immediate surroundings, in works like ‘Grande Rivière’ (2001-02), which depicts a place on the island where Doig stayed, and ‘100 Years Ago (Carrara)’ (2001), which shows a person in a canoe with the prison island of Carrara, just off the coast of Port of Spain, in the background.

In 2002, Doig moved his family to Trinidad permanently, initiating a new phase in his career. Following his interests during his residency, he continued to draw upon his life and experiences on the island, as well as the history and sensibility of the country in his work. As is true across his practice, Doig used found images and photographs taken by himself as aids to produce his paintings, allowing him to capture specific details and convey certain atmospheres. 

Since his move to Trinidad, Doig has worked across the world, including in New York and London, to produce images that are dream-like in quality and construction, joining real and imagined elements. The results are often ordinary and everyday scenes, such as a man walking with an umbrella in ‘Lapeyrouse Wall’ (2004) or a cricket game in ‘Paragon’ (2006), as well as somewhat fantastical visions, like a lion roaming outside the prison in Port of Spain in ‘Lion (Fire Down Below)’ (2019) or the Christ-like skier in ‘Holy Mountain’ (2021). In 2018, Doig began a series of trips to Zermatt, Switzerland, reviving his interest in snowscapes and making paintings that not only capture moments from his time in the resort town, but also feelings, observations and atmospheres.

Doig continues to produce works which functions as the recordings of an acute observer. His thoughtful reflections on the everyday produce beautiful images that beg viewers to take a second look, and reconsider what we classify as mundane. 

Peter Doig

Peter Doig’s visionary paintings and prints transform ordinary moments from life into enthralling compositions bursting with colour. His practice is in constant conversation with his itinerant lifestyle, resulting in images with suggestive narratives that are deeply embedded in the artist’s sense of place. Doig’s works are personal reflections on his life experiences and the world that surrounds him, drawing on memories and stories to construct relatable images. 

Gerhard Richter’s artistic explorations, which stretch over more than six decades, constitute a radical attempt to integrate representation and abstraction. Best known for his painted copies of black and white photographs rendered with a blurred effect, Richter has broadened the potentials of both photography and painting.

Born 1932 in Dresden, Germany, Richter’s childhood was affected by the rise of the Nazi regime and the traumatic events of World War II. According to some of his critics, these painful memories, combined with a regimented life in East Germany under Soviet rule, discouraged him from conveying ideological expressions through art. Such unpretentious perspective materialises in his continued focus on colour combinations and on the tangible quality of his canvases. 

Richter began his studies at the Dresden Art Academy in 1951, but disliked their dogmatic emphasis on Social Realist art. In 1961, Richter fled to West Germany where he studied at the Kunstakademie Düsseldorf. In this liberated, experimental environment, Richter first produced his photopaintings. 
Richter admits Pop Art gave him the license to use photography in his photopaintings. Like Warhol, he saw in photography’s mechanical recording a way to build a machine-like aesthetic that denied artistic involvement. Sourcing photographs from family albums, newspapers and magazines, Richter was interested in the photograph’s status as reproduction, as one stage removed from reality. The photopaintings function like echoes of distant worlds. This dissociation from the subject was developed in his signature blur, created by running a dry brush through the wet paint. In the photopaintings of his family, these distancing effects resonate a sense of confusion of how to make sense of their difficult history. 

Richter advanced this dissociative language in his printmaking practice. From his early editions, such as ‘Dogs’ (1965), to the 2017 Giclée print of ‘Tulips’ (1995) the artist employs the medium as an extra layer of aesthetic distance, being based off a painted image. At the same time, the print completes the work’s cycle, which started with a photographic image that was abstracted in paint and ended with the painted image returned to its photographic state.

Alongside his photopaintings, Richter has developed new possibilities for abstract art which build on his aesthetic of non-involvement. The first abstract series ‘Colour Charts’ (1966) was based on paint charts found in hardware stores and reproduce their geometric grids of colour. Later geometric abstractions used a random computer-generated selection to arrange colours by chance. One of his most intricate, ‘4096 colours’ (1974) would inform the design of Richter’s monumental stained glass windows for the south transept of the Cathedral of Cologne (2007). 

Unwilling to stick to one genre, in his ‘Works Behind Glass’ (2008-10) Richter embraced a free form abstraction. In these, poured enamel paint is squelched flat between glass sheets. Recreated as print editions, the Diasec-mounted chromogenic print on aluminium brilliantly captures the harsh flattening effects of the glass; indeed, the flattening becomes more extreme in the print as the layers of physical paint are less distinguishable.  The spectator is invited to abandon themselves to the Dionysian swirls of paint. 

The diversity of Richter’s oeuvre is remarkable, but equally extraordinary is the consistency of his vision. Throughout his work, he promotes an art that denies artistic involvement. Through this, Richter lays bare a natural beauty: from his tender and diffuse early photopaintings to the vibrant exaltation of colour in his glass paintings. 

Gerhard Richter

Gerhard Richter’s artistic explorations, which stretch over more than six decades, constitute a radical attempt to integrate representation and abstraction. Known for his painted copies of black and white photographs rendered with a blurred effect, Richter has broadened the potentials of both photography and painting.  

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A meditation on the inherent dangers of the alpine landscape, ‘Lost’, the third print in Peter Doig’s ‘Zermatt’ (D1, 2022), uses Doig’s characteristic cartoonishly bright colours to disguise the horrific narrative behind the image. Facing out towards the viewer, hands raised and cupped around their eyes, a lone skier seems to stand in this snowy alpine landscape in search of help. The long, stretched shadow of the figure gives the impression of the fading day and of time running out. Despite being clad in bright orange, the helicopter rescue in the distant sky above appears not to see the skier, evoking the notion of screaming but not being heard. 

With its background narrative of disappearance, ‘Lost’ recalls Doig’s ‘Echo Lake’ (1998). Similarly based on stacked bands of colour overlaid with sparse detail, this earlier painting includes the common motifs of a lone figure and a search vehicle, while the title suggests a similar fruitlessness to the search so far. Indeed, the skier mimics the very stance of the figure in ‘Echo Lake’, who is shown with their hands raised to their eyes to hold binoculars, perhaps evoking Doig’s practice of repurposing figures and imagery across his work.  

The uneasy otherworldliness of ‘Lost’ plays against the poster format of the work, turning the idea of the tourist board advertisement on its head to subvert the usual narratives of beautiful scenery and a good time to be had by all. Now more a missing persons poster, translated from paint into print for the ‘Zermatt’ series, Doig’s image enters into a wider circulation, spreading the word about this lost figure and the dangers of the mountains.

Lost

A meditation on the inherent dangers of the alpine landscape, ‘Lost’, the third print in Peter Doig’s ‘Zermatt’ (D1, 2022), uses Doig’s characteristic cartoonishly bright colours to disguise the horrific narrative behind the image. Facing out towards the viewer, hands raised and cupped around their eyes, a lone skier seems to stand in this snowy alpine landscape in search of help. The long, stretched shadow of the figure gives the impression of the fading day and of time running out. Despite being clad in bright orange, the helicopter rescue in the distant sky above appears not to see the skier, evoking the notion of screaming but not being heard. 

The scene in ‘Road to Zermatt’, the fourth of six prints in Peter Doig’s ‘Zermatt’ (D1, 2022), conjures a non-specific memory of commuting to the ski slopes. In the foreground are two skiers, perhaps in conversation as they walk, set against a faint background which captures a house or resort on the left and a giant tree on the right. The banality of the scene is further emphasised by the woman pushing a pram. The improbably large white blots of thickly overlaid colour that cover the image stand for falling snow, clouding the view just as time and repetition can cloud memory.

‘Road to Zermatt’ sees Doig interpret the banal, everyday scenes that have long interested him into the ski and snowscape genre. The notion of commuting evokes works such as ‘Lapeyrouse Wall’ (2004), in which a lone flaneur figure is shown walking along a long, seemingly endless wall. The screen of snow that shroud’s the viewer’s vision in ‘Road to Zermatt’ can also be traced back to earlier works, such as ‘Cobourg 3 + 1’ (1994), another work that deals simultaneously with the effects of snow on the sight and its lasting effects on the memory. 

The poster format and print medium of the work in the ‘Zermatt’ series serves to elevate this fuzzy memory to an emblematic status, recalling the tourist board posters that advertise such ski resorts. With the possibility of reproduction and a wide circulation, viewers are invited to pin their own experiences and memories onto this image.   

Road to Zermatt

The scene in ‘Road to Zermatt’, the fourth of six prints in Peter Doig’s ‘Zermatt’ (D1, 2022), conjures a non-specific memory of commuting to the ski slopes. In the foreground are two skiers, perhaps in conversation as they walk, set against a faint background which captures a house or resort on the left and a giant tree on the right. The banality of the scene is further emphasised by the woman pushing a pram. The improbably large white blots of thickly overlaid colour that cover the image stand for falling snow, clouding the view just as time and repetition can cloud memory.

Rich layers of yellow, green and blue, accented by splashes of red and white, characterise Damien Hirst’s ‘Kew’, from his ‘Veils’ (H4) series. Published in 2020, the present work is a vibrant edition which captures sensuous details from Hirst’s ‘Veil Paintings’ (2017). Recalling the artist’s iconic ‘Spot Paintings’ and ‘Visual Candy’ series, the ‘Veil Paintings’ embrace colour and artistic gesture on a large scale. The series is a continuation of Hirst’s investigation of colour relationships, intended to celebrate “colour and chaos in a big way”.  

‘Kew’ is named for the Royal Botanical Gardens located in London’s eponymous district, a choice that deliberately suggests abstracted botanical imagery as the subject of the print. The pure, rich colours layered thickly upon the canvas in strokes recollective of Pointillism mimic the lush colour of flowers in bloom, conveying a sense of vibrancy and life.  

Layers upon layers of thickly applied paint appear to recede away from the viewer, creating an image that is both an impenetrable surface and, seemingly, a window offering a glimpse into another world. ‘Kew’ captures this effect and enhances it further, the print medium effectively adding another layer of abstraction to Hirst’s veil.  

Rich layers of yellow, green and blue, accented by splashes of red and white, characterise Damien Hirst’s ‘Kew’, from his ‘Veils’ (H4) series. Published in 2020, the present work is a vibrant edition which captures sensuous details from Hirst’s ‘Veil Paintings’ (2017). Recalling the artist’s iconic ‘Spot Paintings’ and ‘Visual Candy’ series, the ‘Veil Paintings’ embrace colour and artistic gesture on a large scale. The series is a continuation of Hirst’s investigation of colour relationships, intended to celebrate “colour and chaos in a big way”.  

Since his 2001 ‘Kaleidoscope Paintings’ series emerged, Damien Hirst has produced awe-inspiring works in which his butterfly motif is arranged into dreamy kaleidoscopic patterns, among the most entrancing being ‘Mercy’. Part of ‘The Aspects’ (H6, 2019) series, Hirst’s artwork portrays intricately placed images of butterfly wings, each in various shades of blue.  

‘Mercy’ joins a lineage of Hirst’s works inspired by Victorian tea trays decorated with intricate patterns of butterfly wings. In the present work, various sizes of single and paired butterfly wings are carefully arranged, apparently billowing out from the centre of the work in perfect symmetry. While these butterflies are not real, they have the power of convincing viewers of otherwise, their delicate details superbly captured.  

Named for one of the characteristics of God as detailed in the Old Testament, ‘Mercy’ builds on Hirst’s interest in the butterfly motif as spiritual symbol, having been used in Christian imagery to signify resurrection. The connection to Christian imagery and symbology is further strengthened in the stained glass-like effects of ‘’Mercy’. Not only do these wings recall carefully cut pieces of glass set into black lead cames, but they also appear illuminated, as if lit from behind. Fusing this religious symbolism with his perennial fascination with the butterfly’s ability to retain an exquisite beauty in death just as in life, here Hirst establishes the insect as an uplifting and radiant symbol of mortality.  

Mercy

Damien Hirst’s ‘The Aspects’ (H6) captures to a remarkable degree the sensation of looking through a kaleidoscope. Produced in collaboration with Fondation Beyeler in Switzerland in 2019, ‘The Aspects’ sees a reprisal of Hirst’s characteristic butterfly motif through a series of five unique prints in which the artist continues his search into the butterfly’s potentials as a spiritual and existential metaphor. 

Gerhard Richter’s life-long preoccupation with technology and alternative means of artmaking is embedded in ‘Waldhaus’ (P18, 2018), a facsimile print after the original oil on canvas from 2004. Richter’s painting began as a photograph of a house within a vast green forest which culminates in hilly peaks. 

This sublime image of a natural landscape was converted into a painting and altered through mechanical means. Richter projected the photograph onto his canvas, painstakingly tracing it with identical coloured pigments. However, Richter altered the image through his trademark blur reminiscent of an unfocused camera, effectively nodding to the image’s original medium. This effect is subtle, maintaining the integrity and readability of the original image while abstracting it in a way that captures the sensibility of the serene landscape. 

Richter returned to ‘Waldhaus’ with the present edition, a facsimile of tantamount quality which meticulously relays the captivating details of the painted original. Removed once more from the photographic original, ‘Waldhaus’ (P18) contributes a new dimension to this work. Embracing the potentials of technology, 'Waldhaus’ (P18) circles the image back to its true original state in yet another investigation into new methods of abstraction. 

Waldhaus

Gerhard Richter’s life-long preoccupation with technology and alternative means of artmaking is embedded in ‘Waldhaus’ (P18, 2018), a facsimile print after the original oil on canvas from 2004. Richter’s painting began as a photograph of a house within a vast green forest which culminates in hilly peaks. 


‘Cage 1’ (P19-1, 2020) is a Giclée print made after the first of Gerhard Richter’s monumental series of ‘Cage Paintings’ (2006). Originally, Richter intended for the canvases of his ‘Cage’ series to be painted after photographs of atomic structures, but unexpectedly initiated a practice of ‘unpainting’ when he became displeased with their current trajectory.

To this effect, Richter used a self-made squeegee to push and pull layers of paint across his canvases in horizontal and vertical bands, creating heavily textured artworks where bands of colour are intermittently disrupted and destroyed. The visual impact of these uniquely textured canvases was further enhanced by the artist’s use of a scraper to pick at the painted surface of his works. Each resulting multi-directional scratches and indentations, as well as the vivid tonal nuances, are perfectly preserved in the Giclée print.

‘Cage 1’, scaled down from its vast original dimensions to one square metre in the present edition, is one of the most colourful works in the series. The artwork image is dominated by an intense hue of lime green, with a wide bottle-green bar making its way across the top of the canvas. On the right-hand side of the work, a white bar runs vertically, interspersed with patches of green, grey, blue and red. 


Cage

‘Cage 1’ (P19-1, 2020) is a Giclée print made after the first of Gerhard Richter’s monumental series of ‘Cage Paintings’ (2006). Originally, Richter intended for the canvases of his ‘Cage’ series to be painted after photographs of atomic structures, but unexpectedly initiated a practice of ‘unpainting’ when he became displeased with their current trajectory.


Gus Casely-Hayford reveals the secrets of a West African ivory mask created over 500 years ago, depicting a 'steely and ruthless' queen mother.  

'A Physical Essay in Power': The Striking Story of an Ivory Mask from Benin

Harriet Vyner discusses the image which symbolised the establishment's backlash to the 'Summer of Love'.

'Swingeing London': Art, Drugs and Wormwood Scrubs

Barbican Curator Eleanor Nairne traces the rhythms of Lee Krasner’s ‘jewel-like’ painting.

1 Minute 1 Work: Abstract No. 2

Curator Vincent Honoré reflects on David Wojnarowicz's final film, produced at ‘the climax of the aids crisis’.

1 Minute 1 Work: Beautiful People

National Trust curator David Taylor remarks on a ‘portrait’ of a prosperous country estate near Manchester.

1 Minute 1 Work: Dunham Massey, Bird’s-eye View from the South

Paper Veils by Damien Hirst

1,000 unique prints showing close-up details from The Currency artworks by Damien Hirst

The Currency Unique Prints

Rubikcubism by Invader

HENI is delighted to present The Currency, the first NFT collection by Damien Hirst. Reimagining the way NFTs are used, The Currency is a collection of 10,000 NFTs which correspond to 10,000 unique physical artworks which are stored in a secure vault in the UK. The works are now brought to life through their launch on the blockchain.

The Currency

HENI is delighted to present Color Rhythms, a generative NFT collection by the internationally renowned graffiti artist MadC. Consisting of 1,000 unique NFTs, Color Rhythms innovatively combines a generative algorithm, machine learning and hand curation in order to push the boundaries of MadC’s expressive compositions. This drop is also novel in its use of machine learning to create and apply titles that visually relate to each artwork.

Color Rhythms

HENI is delighted to present The Empresses by Damien Hirst, a series of five glorious prints depicting carefully composed images of butterflies, published by HENI Editions. The prints were available to purchase on HENI from 28th January 2022 until Friday 4th February 2022. The final number of editions produced was limited by demand during this time period.


The Empresses

The Great Expectations NFT collection contains 10,000 unique artworks made by Damien Hirst. Following on from the artwork that he created for Drake's album cover, the NFTs show grids of emoji-like pregnant women whose forms have been constructed from spots of various shapes, sizes and colors taken directly from The Currency artworks themselves.



Great Expectations

HENI is delighted to present Greetings from Giza, the first NFT collection by JR. For the first time, the enigmatic artist is able to make ephemeral art persist through the use of NFTs. Greetings from Giza is a multi-layered collection that blurs the lines between the public and digital space, inviting the audience to not just own, but become part of the artwork.

Greetings from Giza

Love Lucian: The Letters of Lucian Freud 1939 – 1954

'The Artist’s Studio': A talk by James Hall

HENI is delighted to present Damien Hirst’s Paper Veils, a series of 300 striking oil paintings on card. All 300 Paper Veils are on display at the HENI Gallery in London.

Paper Veils Exhibition

Martin Gayford, renowned art critic and co-author of the new smash-hit book Love Lucian, gave an exclusive talk for HENI Art Club members focused on the legendary artist Lucian Freud.

Love Lucian: The Letters of Lucian Freud 1939-1954

This digital token is issued exclusively to attendees of the HENI Art Club event ‘The Artist’s Studio’. Art critic and historian, James Hall, uncovers the fascinating history of the artist’s studio. From Ancient Greece to the present day, James reveals the myth and reality of these private creative spaces.

HENI Art Club | The Artist’s Studio

The twentieth century was a time of seismic change in Britain. No one reflected and responded to those changes more vividly than artists. In this talk, based on his new book ‘This is Tomorrow’, Michael Bird illuminates a series of transformative moments through the lens of artists’ lives.

HENI Art Club | This is Tomorrow

HENI Editions is delighted to present 'Rubikcubism' by Invader. The drop features four colour-filled prints from Invader’s acclaimed series of artworks using Rubik’s Cubes. The artworks are on display in the HENI Gallery from the from 2 February until 12 February 2023. This HAT is available to anyone who attends the exhibition.