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. 

Over the last five decades, architectural artist Brian Clarke has produced works that expand and redefine our understanding of stained glass. His practice is dedicated to liberating the medium both from its relegation to the side-lines of art history and the confines of architecture, bringing it into new contexts. He is the leading voice championing the expressive capacity of glass and is responsible for some of the most radical technological innovations in the modern era of stained glass production.

Born in 1953 into a working-class family in Oldham, UK, Clarke immersed himself in art from the age of 12, receiving a scholarship to the Oldham School of Arts and Crafts, and later to the North Devon College of Art and Design at 15. He received his first stained glass window commission for a residential home before he was 20, the start of dozens of projects that would take him around the world. A notable milestone was the 1978 exhibition, ‘GLASS/LIGHT’, co-curated with fellow stained glass artist John Piper and art historian Martin Harrison, the most extensive exhibition to date of stained glass of the 20th century.

By the 1980s, Clarke began receiving commissions for large scale public projects such as the Royal Mosque of King Khalid International Airport (1982), Stansted Airport in London (1988), the Neue Synagogue in Darmstadt (1988), Al Faisaliyah Centre in Riyadh (1997-2000) and Pfizer World Headquarters in New York (1997-2001). In creating these huge projects, Clarke drew from the surrounding architectures and cultures to create truly bespoke installations that became a defining part of the structure, rather than solely ornamental features.

Through these monumental commissions, Clarke has brought much-deserved attention to the visionary skill required to transform the highly sensitive material of glass into vibrant, expressive and modern artworks. In his smaller scale projects, Clarke adapts his practice to make equally powerful statements. Indeed, Clarke's series of freestanding stained glass screens produced with HENI are some of the clearest expressions of his commitment to challenging the traditional expectations of stained glass. Displayed in this way, the screens are awarded the full status of a single artwork, modified by their architectural surroundings but not dependent on it.

In his smaller scale works, Clarke’s original experimentation with the material can be intimately appreciated. For instance, in his ‘Summer Solstice Spitfires’ (2016) series of window panels, Clarke plays with degrees of opacity and transparency to regulate the brightness of the window, allowing only a few glimmering shadows of colourful light to be cast through it. Similarly, Clarke’s ‘Screens’ (begun in 2016) exhibit the vast range of techniques, forms and colour he has mastered, as well as his technological achievement of liberating the medium from the need for lead. As single pieces, they bring celebrations of light and colour into people’s homes.

With a mastery of glass and the ease with which he moves across scale and site, Clarke has produced a portfolio of radically diverse works. He continues to push the boundaries of stained glass as a medium, both in terms of technology and poetic potential, promoting a greater appreciation of the artform. Clarke’s art seems to possess a peculiar intellectual and visual depth, which affects viewers in unique ways, going beyond vision into the realm of the invisible.

Brian Clarke

Over the last five decades, architectural artist Brian Clarke has produced works that expand and redefine our understanding of stained glass. His practice is dedicated to liberating the medium both from its relegation to the side-lines of art history and the confines of architecture, bringing it into new contexts. He is the leading voice championing the expressive capacity of glass and is responsible for some of the most radical technological innovations in the modern era of stained glass production.

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.  

Arthur Jafa is an American artist who works seamlessly across film, photography, happenings, moving image and sound installation, found material and prints. His work explores and questions the Black experience in American culture, encompassing its beauty, power and alienation.

Jafa was born in 1960 and grew up in a segregated Mississippi, recalling that he attended first grade at of the first schools to be integrated. From a young age, Jafa was interested in identity and self- expression. He has commented that he doesn’t remember a time when he didn’t feel aware of other people’s projections and perceptions, which inevitably influenced his own. Jafa moved to Washington D.C. to study film and architecture at Howard University where he first encountered the Black Arts Movement of the 1960s and 70s, leading him to begin thinking about how his work might fit into the history of Black aesthetics.

During the 1990s, Jafa worked in the film industry as Director of Photography and cinematographer on numerous internationally recognised movies, including Julie Dash’s ‘Daughters of the Dust’ (1991), Spike Lee’s ‘Crooklyn’ (1994) and Stanley Kubrick’s ‘Eyes Wide Shut’ (1999). After a few years away from the arts, in the 2010s Jafa worked with musicians such as Solange, Beyoncé and Jay-Z in creating their music videos. His interest in dismantling monolithic representations of Blackness took on a new energy around this time, spurring on a wave of diverse artistic creation and fluidly moving across various media.

In 2016, Jafa displayed the hundreds of binders of images he had been collecting for decades at the Hammer Museum in Los Angeles, featuring material derived first from libraries and newsstands and then the internet, and content ranging from academic texts to comic books, high art to celebrity culture. Displayed on the walls of a gallery, the books became a visual lexicon of diasporic Blackness and a realistically thorough account of the diversity of Black being. In the same year, Jafa received international critical acclaim for ‘Love is the Message, the Message is Death’, a short film of found footage documenting both the suffering and beauty of Black experience, set against the music of Kanye West’s ‘Ultralight Beam’. 

The following year, the Serpentine Gallery in London worked with Jafa on the exhibition ‘A Series of Utterly Improbable, Yet Extraordinary Renditions’. In this, Jafa presented a new series of assembled images, both found and original, alongside that of other Black artists, addressing the radical alienation of Black life in the West.

Jafa has explained that “one of the basic conundrums of Black being is that the very things that have oppressed us are the very things that define who we are and if we erase all the suppression and stuff, we sort of erase ourselves”. These themes of absence, haunting and melancholia are often paired alongside empowerment in Jafa’s work, often making for jarring viewing. Take ‘LA Haze I’ (T1) and ‘LA Haze II’ (T2) for example – absent of figures but bursting with meaning specific to the Black life in south LA.

Jafa’s confident fluency in working with images arises from his engagement with and meticulous archiving of visual content from a young age. The content of his assembled books derives from mass produced and widely distributed images, a theme that translates naturally into printmaking and intersects with the artist’s lifelong aspiration to identify the aesthetics of a relatable Black experience.

Arthur Jafa 

Arthur Jafa is an American artist who works seamlessly across film, photography, happenings, moving image and sound installation, found material and prints. His work explores and questions the Black experience in American culture, encompassing its beauty, power and alienation.

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.


Based on a selection of paintings produced during his time in Zermatt, Switzerland, Peter Doig’s ‘Zermatt’ (D1, 2022) series triumphantly marks the artist’s return to snowscapes for the first time since the 1990s.

The Zermatt Series

The Empresses is a series of prints constructed from images of red butterfly wings, intricately arranged with a filigree of red glitter to produce visually intoxicating, kaleidoscope-like effects. 

The Empresses

The Cage (P19) series consists of six prints representing each of Richter’s ‘Cage’ paintings, scaled down. In the ‘Cage’ paintings, Richter pushed and pulled layers of paint across the surfaces of his canvases in horizontal or vertical bands. 

Cage Prints

The Virtues is a set of eight cherry blossom prints. The prints are each titled after one of The Eight Virtues of Bushidō according to Nitobe Inazō.

The Virtues

These striking prints provide an extraordinary new perspective on The Currency collection, using extremely high-resolution images to focus in on singular details of the painted works.

The Currency Unique Prints

‘Rubikcubism’ is a series of four colour-filled prints after
Invader’s eponymous series of Rubik’s Cube-based sculptures.

Invader

RUBIKCUBISM

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11\. We may also obtain Personal Data about you when we use video cameras and aerial UAVs for the purpose of creating video footage and photos relating to artworks. For example, whilst filming on location, members of the public may be captured in images/video footage. Any member of the public whose image is captured would be very distant and it is unlikely that they will be recognisable. In the event they are recognisable, we would blur them out of any edited footage.

## Security of your Personal Data

12\. We will treat all your Personal Data as confidential and will only disclose it to third parties outside the HENI Group in accordance with this Privacy Notice. We will keep Personal Data secure and fully comply with all applicable UK data protection and consumer legislation from time to time in place.

13\. The HENI Group will retain Personal Data for at least the length of time required for the specific purposes for which it is processed, as set out in this Privacy Notice, and for such additional periods as are required by law or in order to ensure best practice (including effective back-up systems).

14\. We will take all reasonable care, in so far as it is in our power to do so, to keep your Personal Data, and the details of your orders and payments secure, but in the absence of proven negligence on our part we cannot be held liable for any loss you may suffer if a third party procures unauthorised access to any Personal Data we process on your behalf.

## Processing and disclosure of your Personal Data

15\. The HENI Group will process your Personal Data for the following purposes or as otherwise set out in this Privacy Notice, on the basis that such processing is in our and/or your legitimate interests:

• for the purposes of negotiating or performing any contracts entered into between you, or some company to which you are affiliated, and any HENI Group business;

• to address any correspondence, comments or enquires made by you;

• to allow you to participate in interactive features on our websites, should you choose to do so, and to provide the services you request;

• to email you with HENI Group invites, newsletters and/or suggestions about products, services or content that may be of interest to you, where we have a legitimate interest to do so in compliance with data protection and privacy law and/or where you provided your consent. However, you may stop such notifications at any time by contacting our customer services team by emailing the relevant Data Controller email address(es) above using the word “unsubscribe” in the subject line or otherwise by opting out of the particular email in the manner described;

• for the effective management of the HENI Group of businesses in accordance with our legitimate interests, such as in group structuring and management, engaging suppliers, generating surveys and statistics, measuring performance and website usage, implementing service improvement and marketing plans, etc;

• disclosing your Personal Data to third parties outside the HENI Group of businesses for the purposes stated above, including on your behalf or in order to enforce or apply our Terms and Conditions, or to protect the rights, property, or safety of HENI Group businesses and our personnel, customers, or others. This may include exchanging information with other organisations for the purposes of fraud protection and credit risk reduction; and

• disclosing your Personal Data to any HENI Group business or affiliate, which means our subsidiaries, any ultimate holding company and its subsidiaries, or any affiliated person or business. In the event that the relevant Data Controller, as identified above, or its assets, are acquired by a third party, Personal Data held by us may also be one of the transferred assets.

• for the purpose of creating video footage and photos of artworks.

• disclosing your Personal Data to third parties outside the HENI Group of businesses for provenance and/or authentication purposes in relation to artworks sold on any Heni Group website.

• disclosing your Personal Data to named third-party organisations for marketing purposes, where we have your consent to do so, for example, if you ticked the relevant opt-in box on our websites or when contacted. In these instances, we will supply your Personal Data to the specific organisation(s) only.

16\. The HENI Group may also process your Personal Data, including disclosing such Personal Data to third parties, as required by virtue of any legal, regulatory or other obligation. For example, the HENI Group of businesses will from time to time be required to disclose Personal Data to external law firms, accountants and auditors, insurance brokers and underwriters.

17\. The HENI Group will process Personal Data in the course of receiving payments from our clients and customers, and when making payments to such persons and to other third parties. The payment methods used will include bank transfers (which will require account names, numbers and sort codes, and possibly other information) and debit or credit card transactions (though note that we do not retain card information and payments via card will be processed securely in accordance with the Payment Card Industry Data Security Standard (PCI DSS) to protect sensitive cardholder data by a payment services provider in accordance with paragraph 17 of this Policy).

18\. Financial transactions through all HENI Group websites will be handled through a payment services provider, for example Stripe or PayPal, with which you will deal directly. You can review the Stripe Privacy Notice at stripe.com. PayPal Privacy Notice at paypal.com. We shall share Personal Data with such payment services providers only to the extent necessary for the purposes of processing payments, and dealing with complaints and queries relating to such payments.

## Where we store and transfer your Personal Data

19\. The Personal Data which HENI collect from you and which we process for the purposes set out above may be transferred outside the European Economic Area (“EEA”) where appropriate and necessary in accordance with our legitimate interests. Personal Data may also be processed by HENI Group staff, or for one of our suppliers or agents, operating outside the EEA. Such persons or entities maybe engaged in, among other things, the fulfilment of your orders, the processing of your payment details or the provision of support services.

20\. If and when making such transfers outside the EEA we will take all steps reasonably necessary to ensure that your Personal Data is managed securely and in accordance with this Privacy Notice and relevant data protection law.

## Cookies Policy

21\. By visiting and interacting with any HENI Group website to which this Privacy Notice applies, you are agreeing to our use of cookies in accordance with this policy and the relevant website Terms of Use.

22\. Cookies are small files that are stored on your computer or internet-enabled portable device by the websites you visit. They are used to make websites work and to improve their efficiency, as well as to provide website usage information to the website owner. Cookies contain information such as the time that the current visit occurred, whether the visitor has been to the website before and what site referred the visitor to the web page.

23\. HENI Group websites use cookies to distinguish you from other users of the site, in order to help us to improve your user experience. Some cookies are essential for the functionality of the website and allow features to work correctly. Other cookies may collect information about how visitors interact with our site, for instance to show which pages are viewed mostly frequently.

24\. Google Analytics: we use this web analytics tool to anonymously track usage statistics to help us improve the user experience of our site. Like many services, Google Analytics uses first-party cookies to track visitor interactions as in our case, where they are used to collect information about how visitors use our site. We then use the information to compile reports and to help us improve our website. Google Analytics collects information anonymously; it reports website trends without identifying individual visitors. You can opt out of Google Analytics without affecting how you visit our site – for more information on opting out of being tracked by Google Analytics across all websites you use, visit this Google page: https://tools.google.com/dlpage/gaoptout.

25\. Vimeo cookies: HENI Talks embed videos from the official Vimeo channel. This channel may set cookies on your computer when you use the Vimeo service or visit a webpage with a Vimeo video. Some of the cookies will only be used if you use certain features or select certain preferences and some cookies will always be used. For more information on Vimeo’s cookie policy visit:[https://vimeo.com/cookie_policy](https://vimeo.com/cookie_policy).

26\. Twitter cookies: HENI Talks also embed a Twitter feed on our press page to show the latest tweets between us and our viewers. If you click through to Twitter they may use both session cookies and persistent cookies to better understand how you interact with their service. For more information on Twitter’s cookie policy visit: [https://twitter.com/en/privacy](https://twitter.com/en/privacy).

## Variations to this Privacy Notice

27\. We may vary the terms of this Privacy Notice from time-to-time. Please check this webpage regularly to ensure you are familiar with the current version as your Personal Data is subject to the Privacy Notice in effect at the time when you provided that information.

28\. This Privacy Notice will be governed by and construed in accordance with English law, and any disputes relating to this notice shall be subject to the exclusive jurisdiction of the courts of England.

Privacy Policy

**1\. This Privacy Notice and Your Rights**

This Privacy Notice describes how HENI Tech LLC (referred to as “Heni”,“we”,“us”or “our” in this Privacy Notice) processes personally identifiable information through your use of the websites, products and services we make available to you (together the “Services”). By using the Services, you agree to be bound by the terms of this Privacy Notice, which also includes our Cookies Policy (see below).

HENI Tech LLC is the controller and is responsible for the collection, processing and use of your Personal Data (as defined below). If you have any questions about this Privacy Notice , please contact us at: terms@heni.com.

It is important that you read this Privacy Notice together with any other privacy policy or fair processing policy we may provide on specific occasions when we are collecting or processing Personal Data (as defined below) about you so that you are fully aware of how and why we are using your data. This Privacy Notice supplements other notices and privacy policies made available by us. In the event of a conflict, the terms of this Privacy Notice shall apply.

To review the relevant privacy notices of any other group company or affiliated entities in the HENI Group of businesses (“HENI Group”) please review the relevant website or contact us for further information.

If you are using the Services from the European Union (“EU”) or the United Kingdom (“UK”), see our Notice to EU and UK data subjects in section 5 below for our legal bases for processing and transfer of your Personal Data.

**2\. Personal Data We may Collect From You**

When you want to register with, apply to purchase or make purchases through our websites to which this Privacy Notice applies (collectively, the “Website”) or when you subscribe to receive newsletters or notifications, post comments on the Website or contact us using the ‘contact’ form on our Website, or correspond with us by email, post, telephone or any other method, we may ask you to provide and may collect personally identifiable information from you, such as your first and last name, e-mail address, billing address, shipping address, telephone number, product selections, and payment information. We may also collect:

• Your wallet address or other information related to your digital wallet that may be considered Personal Data under certain data privacy laws; and

• Information required to comply with anti-money laundering (“AML”) laws and know-your-customer (“KYC”) requirements (including, but not limited to, your photographic identity, nationality, date of birth, address and place of birth);

We may also collect information about you as you navigate through and interact with our Service, including, but not limited to the URL of the website you visited prior to accessing our Website, IP addresses, your browser type, Ethereum address, wallet type, application programming interface (API)-key, network information regarding transactions the country and telephone area code where your computer is located, the pages of our Website that were viewed during your visit, and cookies and other data analytics described in Section 6 below. We may collect this information even if you do not register with us.

We may receive personally identifiable information about you from publicly-available records or from other sources, including other affiliates of the HENI Group that offer their products and/or services on our Service. In particular, MetaMask and other wallets provide us with your Ethereum address and certain other information you choose to share with MetaMask and other wallets. These third party companies may supply us with Personal Data. We may add this to the information we have already collected from you via our Service in order to improve it.

The personally identifiable information described in this Section is referred to in this Privacy Policy as “Personal Data”.

**3\. Security of your Personal Data**

We will treat all your Personal Data as confidential and will only disclose it to third parties outside the HENI Group in accordance with this Privacy Notice. We will keep Personal Data secure as necessary to comply with all applicable data protection and consumer protection requirements.

We will retain Personal Data for at least the length of time required for the specific purposes for which it is processed, as set out in this Privacy Notice, or in order to ensure best practices (including, for example, maintaining effective backup systems) and for such additional periods as necessary to comply with applicable laws.

**4\. Processing and disclosure of your Personal Data**

We will process your Personal Data for the following purposes or as otherwise set out in this Privacy Notice:

• to process your application to make purchases through our Website;

• to facilitate the creation of and secure your account on our Website;

• for the purposes of negotiating or performing any contracts entered into between you, or some company to which you are affiliated, and Heni;

• as required by virtue of any legal, regulatory or other obligation such as to comply with AML and KYC requirements;

• to address any correspondence, comments or enquires made by you;

• to allow you to participate in interactive features on our Website, should you choose to do so, and provide the Services you request, including but not limited to facilitating your cryptocurrency transactions through MetaMask or other wallets that may be available to use with our Services;

• to email you with HENI Group invites, newsletters and/or suggestions about products, services or content that may be of interest to you. However, you may stop such notifications at any time by contacting our customer services team by emailing our email address(es) using the word “unsubscribe” in the subject line or otherwise by opting out of the particular email in the manner described;

• for the effective management of the HENI Group such as in group structuring and management, engaging suppliers, generating surveys and statistics, measuring performance and website usage, and implementing service improvement and marketing plans;

• we will process Personal Data in the course of receiving payments from our clients and customers, and when making payments to such persons and to other third parties. The payment methods used will include bank transfers (which will require account names, numbers and sort codes, and possibly other information) and debit or credit card transactions (though note that we do not retain card information and payments via card will be processed securely in accordance with the Payment Card Industry Data Security Standard (“PCI DSS”) to protect sensitive cardholder data by a payment services provider);

• to manage our relationship with you which will include notifying you about changes to our Terms of Service or Privacy Notice;

• to administer and protect our business and Website (including troubleshooting, data analysis, testing, system maintenance, support, reporting and hosting of data);

• to use data analytics to improve our Services, customer relationships and experiences; or

• any other way we may describe when you provide Personal Data.

We may share your Personal Data with the parties and for the purposes set out below:

• disclosing your Personal Data to third parties outside the HENI Group for the purposes stated above, including on your behalf or in order to enforce or apply our Terms of Service, or to protect the rights, property, or safety of HENI Group businesses and our personnel, customers, or others. This may include exchanging information with other organisations for the purposes of fraud protection and credit risk reduction;

• disclosing your Personal Data to third parties outside the HENI Group as required by virtue of any legal, regulatory or other obligation. For example, we will from time to time be required to disclose Personal Data to external law firms, accountants and auditors, insurance brokers and underwriters;

• disclosing your Personal Data to any HENI Group business or affiliate, which means our subsidiaries, any ultimate holding company and its subsidiaries, or any affiliated person or business. In the event that we or our assets, are acquired by a third party, Personal Data held by us may also be one of the transferred assets; and

• disclosing your Personal Data to third parties outside the HENI Group who need it to do work for us. These recipients may include third party companies and individuals who provide the Services on our behalf, such as operating our Website.

• disclosing your digital wallet address to third parties outside the HENI Group, such as secondary marketplaces, who need it to provide a service to you, where you have chosen to subscribe to their service.

Financial transactions through our Websites will be handled through a payment services provider, including Stripe or PayPal, with which you will deal directly. You can review the Stripe Privacy Notice at stripe.com. PayPal Privacy Notice at paypal.com. We shall share Personal Data with such payment services providers only to the extent necessary for the purposes of processing payments, and dealing with complaints and queries relating to such payments.

You may permit us to share your Personal Data with other companies or entities of your choosing including those companies or entities whose websites or services you can link to from our Website. Those uses will be subject to the privacy policies of the recipient entity or entities.

**5\. Notice to EU and UK data subjects**

This section of the Privacy Notice describes how we process Personal Data relating to individuals in the EU and the UK in accordance with:

• the EU General Data Protection Regulation ((EU) 2016/679) (“EU GDPR”) - in respect of individuals in the EU; and

• the retained EU law version of the EU GDPR that applies in the UK, along with the Data Protection Act 2018 (“UK GDPR”) – in respect of individuals in the UK,

the EU GDPR and the UK GDPR are referred to together as the “Data Protection Legislation”.

**Your rights**

The Data Protection Legislation generally provides individuals with rights in relation to the processing of their Personal Data. These include rights to information relating to such processing, to access such Personal Data, to object to the processing, to rectify, erase, restrict and to port such Personal Data. You can seek to exercise any of these rights or make any other enquiry about our use of your Personal Data by contacting us at any time using the email address above.

Our aim always is to process Personal Data fairly, lawfully and transparently. However, if you are unhappy with the information provided in this Privacy Notice or have questions or concerns regarding this Privacy Notice please email us at the email address above. If you remain dissatisfied you may raise your unresolved issues directly with the data protection regulator in your jurisdiction. You can find your data protection regulator here: https://ec.europa.eu/justice/article-29/structure/data-protection-authorities/index_en.htm.

**Sensitive Personal Data**

Some of the information you provide us may constitute sensitive personal data as defined in the Data Protection Legislation (also referred to as special categories of personal data), including identification of your race or ethnicity on government-issued identification documents which we may collect as part of AML and KYC as explained above.

**Legal Bases for Processing**

We will only use your Personal Data as the law permits. We are required to inform you of the legal bases of our processing of your Personal Data. We have set out below a description of all the ways we plan to use your Personal Data, and which of the legal bases we rely on to do so.

Please note that we may process your Personal Data for more than one lawful ground depending on the specific purpose for which we are using your data.

| Purpose | Lawful basis for processing |
| :----------------------------------------------------------- | :----------------------------------------------------------- |
| To provide our Services including to address any correspondence, comments or enquires made by you and to allow you to participate in interactive features on our Website, should you choose to do so | Performance of a contract with you Necessary for our legitimate interests |
| To process and deliver your purchase orders including to manage payments, fees and charges | Performance of a contract with you Necessary for our legitimate interests |
| To email you with HENI Group invites, newsletters and/or suggestions about products, services or content that may be of interest to you | Necessary for our legitimate interests Consent |
| For the effective management of the HENI Group such as in group structuring and management, engaging suppliers, generating surveys and statistics, measuring performance and website usage, implementing service improvement and marketing plans, etc | Necessary for our legitimate interests |
| To manage our relationship with you which will include notifying you about changes to our Terms of Service or Privacy Policy | Performance of a contract with you Necessary to comply with a legal obligation Necessary for our legitimate interests |
| To administer and protect our business and Website (including troubleshooting, data analysis, testing, system maintenance, support, reporting and hosting of data) | Necessary for our legitimate interests Necessary to comply with a legal obligation |
| To use data analytics to improve our Services, customer relationships and experiences | Necessary for our legitimate interests |
| To comply with AML and KYC requirements | To comply with legal obligations |

**Change of purpose**

We will only use your Personal Data for the purposes for which we collected it, unless we reasonably consider that we need to use it for another reason and that reason is compatible with the original purpose. If you wish to receive an explanation as to how the processing for the new purpose is compatible with the original purpose, please contact us.

If we need to use your Personal Data for an unrelated purpose, we will notify you and we will explain the legal basis which allows us to do so.

Please note that we may process your Personal Data without your knowledge or consent, in compliance with this Privacy Notice, where it is required or permitted by law.

**Cross-Border transfer**

The Personal Data which we collect from you and which we process for the purposes set out in this Privacy Notice may be held and transferred outside the European Economic Area (“EEA”) where appropriate and necessary in accordance with our legitimate interests. Personal Data may also be processed by HENI Group staff, or by one of our suppliers or agents, operating outside the EEA. Such persons or entities may be engaged in, among other things, the fulfilment of your orders, the processing of your payment details or the provision of support services.

If and when making such transfers outside the EEA we will take all steps reasonably necessary to ensure that your Personal Data is managed securely and in accordance with this Privacy Notice and applicable Data Protection Legislation.

**6\. Cookies Policy**

By visiting and interacting with any Website to which this Privacy Notice applies, you are agreeing to our use of cookies in accordance with this Privacy Notice and the relevant website’s terms and conditions.

Cookies are small files that are stored on your computer or internet-enabled portable device by the websites you visit. They help websites improve their efficiency, as well as to provide usage information to the website owner. Cookies contain information such as the time that a website visit occurred, whether the visitor has been to the website before and what site referred the visitor to the web page.

We use cookies on our Website to distinguish you from other users of the site, in order to help us to improve your user experience. Some cookies are essential for the functionality of the Website and allow features to work correctly. Other cookies may collect information about how you interact with our site, including, for example, showing which pages are viewed mostly frequently.

Mixpanel: We collect personal information such as your email address and your user activity through the use of Mixpanel. Mixpanel helps us analyze usage patterns of our users. Mixpanel’s ability to use and share information is governed by the Mixpanel Terms of Use, available at https://mixpanel.com/terms , and the Mixpanel Privacy Policy, available at https://mixpanel.com/privacy. You can opt-out of Mixpanel’s services by clicking on the following link: https://mixpanel.com/optout.

Segment: Segment.io is a central service that allows us to more efficiently forward analytics data to our other data processors. To learn about the privacy practices of Segment please review https://segment.com/docs/legal/privacy. Please contact us if you want to opt-out from Segment.

**7\. How We Respond to Do Not Track Signals**

We do not currently respond to “do not track” signals or other mechanisms that might enable you to opt out of tracking on our Website. You can typically remove and reject cookies from the Services with your browser settings. Many browsers are set to accept cookies until you change your settings. If you remove or reject the cookies, it could affect how the Services work for you.

**8\. Children**

We do not knowingly collect, maintain, or use personal information from children under 13 years of age, and no part of our Service is directed to children. If you learn that a child has provided us with personal information in violation of this Privacy Notice, then you may alert us at the email provided above.

**9\. Third party links**

Our Website may include links to third-party websites, plug-ins and applications. Clicking on those links or enabling those connections may allow third parties to collect or share data about you. This Privacy Notice does not apply to information collected through these third-party websites. We do not control these third-party websites and are not responsible for their privacy notices or policies. When you leave our Website, we encourage you to read the privacy policy of the website you are visiting.

**10\. Variations to this Privacy Notice**

We may vary the terms of this Privacy Notice from time-to-time. You are responsible for checking this webpage regularly to ensure you are familiar with the current version as your Personal Data is subject to the Privacy Notice in effect at the time when you provided that information.

Based on a selection of paintings produced during his time in Zermatt, Switzerland, Peter Doig’s ‘Zermatt’ (D1, 2022) series triumphantly marks the artist’s return to snowscapes for the first time since the 1990s. Combining the real with the imagined, the ‘Zermatt’ works depict six filmic narratives based on Doig’s experiences within the idyllic Swiss resort time and constitute the artist’s first thematic series of works.

The ‘Zermatt’ paintings were conceived in 2018 when Doig’s friend, the architect, artist and skier Heinz Julen, offered his chalet in Zermatt for Doig to stay and paint snowscapes. The paintings that make up the six prints of this series were begun just shortly after Doig’s arrival at the chalet in 2018 and were worked on during subsequent trips to Zermatt before finally being completed in London in 2021 and 2022. 

Conceptually and compositionally, Doig’s ‘Zermatt’ series was influenced by a photograph he captured of a cat outside the chalet with the Matterhorn visible in the background. The image reminded him of ski posters designed to attract people into the mountains, characterised by a delicate balance of dynamic skier and majestic, snow-covered landscape. Simple yet enticing, these images prompted Doig to produce his own series of so-called painted posters. In doing so, ‘Zermatt’ joins a lineage of poster-making by Doig, perhaps most famously those made for his Studio Film Club in Trinidad.

Relying largely on memory to construct narratives based on his time in Zermatt, Doig’s images draw upon a range of inspirations – from the town’s strong religious tradition and the danger of its landscape to memories of skiing and commuting to the slopes. His view of the resort town was undeniably influenced by Derek Walcott’s descriptions of Zermatt in his generative series of poems, ‘The Prodigal’, from 2006.

Doig’s ‘Zermatt’ joins some of his most iconic paintings, such as ‘Ski Jacket’ (1994) and ‘Olin MK IV Part 2’ (1995-96), as his newest take on alpine landscapes populated by brightly dressed skiers. As is true of these earlier paintings, in ‘Zermatt’ Doig interrogates the impact of a snow-covered environment on one’s vision. For example, the strange nature of snow is captured in the white speckles that veil ‘Road to Zermatt’, a metaphor for the brokenness of memory, while the greenish hue of ‘Couloir 2’ recalls yellow-tinted ski goggles. 

In 2022 in collaboration with HENI Editions, the six ‘Zermatt; paintings deemed by Doig to be the most 'poster-like' in size and appearance were translated into facsimile Giclée prints on Cotton Smooth Rag and framed in oak with Optium Tru Vue Acrylic Glass. His choice to do so was in part inspired by his interest in the new printing technology and its capacity to maintain the integrity of an original painting in print form, disseminating his art to a wider audience along the way. Originally conceived as a series of painted posters on paper, in the printed format the ‘Zermatt’ paintings also take on a new dimension, bringing these images into the format that inspired them, to become so-called ‘art posters’, and making Doig’s dreamlike work more widely accessible. 

Zermatt

Based on a selection of paintings produced during his time in Zermatt, Switzerland, Peter Doig’s ‘Zermatt’ (D1, 2022) series triumphantly marks the artist’s return to snowscapes for the first time since the 1990s. Combining the real with the imagined, the ‘Zermatt’ works depict six filmic narratives based on Doig’s experiences within the idyllic Swiss resort time and constitute the artist’s first thematic series of works.

Veils

The Aspects

In 2021, Damien unveiled ‘The Virtues’ (H9), his second print series after his “garish and messy and fragile” ‘Cherry Blossoms’ (2018-20) paintings. The monumental canvases have been translated here into a vivid series of eight laminated Giclée prints on aluminium composite panels which captures the ephemeral, colourful blooms on sprawling tree branches.  

Ultimately about the spontaneous joy of spring, ‘Cherry Blossoms’ heralded Hirst’s self-professed “move away from Minimalism and the idea of the imaginary mechanical painter”. A series of 107 canvases of various sizes, ‘Cherry Blossoms’ is derived from the artist’s investigations into the relationships between abstraction and figuration. Returning to the ideas and aesthetics of the 19th century Pointillist painters Georges Seurat and Pierre Bonnard, the paintings are built up of “flashes” of a vast array of colours that work together to create a depth and vivacity to the visually predominant pinks and whites of the blossom trees. Working with the vast scale of the series, Hirst would fill his studio with canvases and work on a number of them simultaneously. In this way, image creation became symbiotic with the immersive viewing experience of them. Hirst works effectively beyond the limits of the visual field offered by one canvas just as the viewer is completely overwhelmed in front of the huge paintings.  

‘The Virtues’ further plays with the idea of the possibilities and limits of human perception. The images, derived from the painted ‘Cherry Blossoms’ canvases, show recognisable sections of the trees only seen partially as if through a window or from inside the tree itself. The focus is less on trees as a subject matter and more on the sheer beauty of the small moments of colour that make them. As Hirst said, “these prints are about the momentary, the insane transience of beauty – a tree in full crazy blossom against a clear blue sky. How can you argue with that?” 

Hirst’s fascination with the incredible ephemerality of the cherry blossom is echoed in the artwork titles, with each print named for The Eight Virtues of Bushidō according to Nitobe Inazō – Justice, Courage, Mercy, Politeness, Honesty, Honour, Loyalty and Control. Nitobe’s book, ‘Bushidō: The Soul of Japan’, narrates for Western audiences the Samurai code of ethics. Within the book, Nitobe also speaks on the cherry blossom, noting that it “carries no dagger or poison under its beauty, which is ever ready to depart life at the call of nature, whose colours are never gorgeous, and whose light fragrance never palls. Beauty of colour and of form is limited in its showing; it is a fixed quality of existence, whereas fragrance is volatile, ethereal as the breathing of life.” 

In ‘The Virtues’ Hirst once more harnesses the possibilities of printmaking to experiment with technology, making his work available to new audiences along the way. Not only was its edition size open to public demand during a one-week application period, ‘The Virtues’ was the first print series for which both HENI Leviathan and Damien Hirst accepted payment in cryptocurrency. Reproduced in extraordinarily high resolution, in ‘The Virtues’ Hirst shrinks his monumental canvases into accessible prints, retaining the tactility of their captivatingly thick impasto and the vibrancy of their colours.  

In 2021, Damien unveiled ‘The Virtues’ (H9), his second print series after his “garish and messy and fragile” ‘Cherry Blossoms’ (2018-20) paintings. The monumental canvases have been translated here into a vivid series of eight laminated Giclée prints on aluminium composite panels which captures the ephemeral, colourful blooms on sprawling tree branches.  

'The Empresses' (H-10, 2022) marks a new iteration in Damien Hirst's exploration of the butterfly as a symbol for freedom, religion, life and death. A series of five laminated Giclée prints on aluminium composite, screen printed with glitter, each print depicts images of red and black butterfly wings, arranged into a unique kaleidoscope-like pattern. The carefully positioned wings appear mobile and their patterns transform, each print seeming to capture the butterflies in moments of variously directional flight. 

As well as a playful reference to Empress butterflies, the prints are named for five influential female rulers from history: Wu Zetian, Theodora, Nūr Jahān, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, evoking life, war, power, anger, love, joy and luck. 

Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in 'The Empresses' Hirst develops on the complex compositions invented in his 'Kaleidoscope Paintings' series (begun in 2001). In 'The Empresses', Hirst builds on his interest in the insect's association with freedom, religion, life and death, linking butterflies to themes of glory, female power and the development of nations through the prints' namesake female rulers. 

'The Empresses' prints are symmetrical, asymmetrical and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life – the butterflies look as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, which allows the butterfly wings to be rendered in minute detail, appearing lifelike and evoking an energetic quality with the light-reflecting property of their surfaces.

The awe-inspiring images of wings are framed by glitter, a vibrant and tactile material previously used by Hirst in his paintings and prints. This substance conveys a sense of joy, harking back to childhood play and moments of blissful abandon. In this way, the materiality of the prints work with the very images they depict to create the jocular sentiment that is characteristic of Hirst's work: the vivacity and excitement of the glitter ground lends a sense of life to the immobile butterfly wings, held static in their defined positions within the intricate geometry of each print. 

A limited edition series with sizes based on demand within a week-long application period, 'The Empresses' not only marked a new rendition of Hirst's iconic butterfly motif but also the arrival of the HENI Editions NFT Deed, permitting the delay of receipt of the prints for up to three years. This digital intervention afforded the ultimate flexibility to collectors of 'The Empresses' and introduced a chrysalis-like stage in the prints' lifecycles.  

‘The Empresses’ (H-10, 2022) marks a new iteration in Damien Hirst’s exploration of the butterfly as a symbol for freedom, religion, life and death. A series of five laminated Giclée prints on aluminium composite, screen printed with glitter, each print depicts images of red and black butterfly wings, arranged into a unique kaleidoscope-like pattern. The carefully positioned wings appear mobile and their patterns transform, each print seeming to capture the butterflies in moments of variously directional flight. 

Gerhard Richter’s series of six ‘Cage’ prints (P19, 2020) were based off his monumental ‘Cage Paintings’, created in 2006. For the Gagosian Gallery premiere in June 2021 they were accompanied by a recital featuring rock icon Patti Smith. “Everybody has a song which is no song at all”, said Smith. “It is a process of singing and when you sing you are where you are”. Her evocative words capture the essence of the exchange between the painting and print.

In both the paintings and the prints there is an active moment: it is the song in the process of being sung. It has its own quality and offers itself as a unique experience. If the original ‘Cage Paintings’ are monumental fields of colour, which cocoon and envelope the spectator, the small square print ‘Cage’ is intimate. Yet, the two are also profoundly linked as they both provide a visionary colour experience: in the case of the print and painting ‘Cage 6’ a texture of aqua greens, citrus yellows, black and Prussian blues.

Richter created the ‘Cage Paintings’ while listening to the experimental music of John Cage. His approach to the paintings and prints resonates central tenets of Cage’s practice, in particular the musician’s pursuit to eliminate the ego in his music. This ongoing concern, for Cage, reflected his deep interest in Buddhism and its non-dualistic philosophy that conceives the boundaries of the ego as an impediment in the experience of a unified consciousness. The notion of eliminating the artistic ego was already central to Richter’s aesthetic. In the ‘Cage Paintings’, he denied the handmade quality of traditional painting. Refusing to use a painter’s brush, which has associations of the personal touch, he fashioned his famous squeegee from a Perspex bar and a handle. This heavy apparatus allowed him to wipe paint across the canvas with a mechanical action that was almost slick. By adding further vertical or horizontal strips of colour, he eliminated the layer before it.  

Printmaking allows Richter to extend his practise and further develop his aesthetic of non-involvement since mechanically reproduced prints are further removed from the artist. In the case of ‘Cage’, the work is one stage further removed since the prints are based on photographs of the original painting. While this technique, with its effacement of individuality, reflects the idea of the ego as an impediment, Richter’s fields of shimmering colour could be equated to the spiritual concept of an elevated state of balance. 

In both its painted and printed form, ‘Cage’ is a series that incorporates dynamic bodily movement and an emotive contemplation of colour. In an attempt to create works that can truly exist autonomously, entirely removed from the artist’s ego, Richter has produced images of intense philosophical and sensorial weight. 

Gerhard Richter’s series of six ‘Cage’ prints (P19, 2020) were based off his monumental ‘Cage Paintings’, created in 2006. For the Gagosian Gallery premiere in June 2021 they were accompanied by a recital featuring rock icon Patti Smith. “Everybody has a song which is no song at all”, said Smith. “It is a process of singing and when you sing you are where you are”. Her evocative words capture the essence of the exchange between the painting and print.

The ‘Summer Solstice Spitfires’ (G1, 2016) editions continue Brian Clarke’s radical experimentation in stained glass. Clarke’s practice is driven by the aspiration of “transporting post-industrial godless man to the edge of ecstasy”, undermining the religious and architectural connotations that typically limit stained glass.

The spitfire form had appeared in Clarke’s work prior to this series, as a site-specific installation of dozens of stained glass windows at HENI Gallery in London, for example, and also in drawings and paintings. In 2016, Clarke collaborated with HENI again to create the “radical successors” to the window – a series of 70 editions of stained glass autonomous panels. 

Reproducing the recognisable spitfire motif in glass subverts the reality of the iconic wartime aircraft, one that would intercept the sun and cast ominous shadows on the earth below. Now the spitfire lets light pass through it to create rippling pools of colour that float, like the planes once did, over its surroundings. The regular repetition of the form across the frame further undermines its meaning, turning the sinister omen of death into a pattern. This manipulation of the symbol is further enhanced by its reproduction beyond the initial borders of the panel and across the individual editions.

Every work in the series features a different arrangement of coloured spitfire forms, and some were also painted in silver stain to further enrich the variation of colours. On the series, Clarke has commented, “I think that the most interesting of my ‘Spitfires’ works is the edition of stained glass panels. The process of firing has made the painting’s reproduction on each panel, its shade and tone, unique”. In addition to Clarke’s unique interventions across the series, the site specificity inherent to stained glass adds to this effect, offering each of the ‘Summer Solstice Spitfires’ editions a new and different spirit.

Consistent across the series is the arrangement of matte black clouds. Seeming to swell out from each boarder panel, the dark and oppressive clouds obstruct any light from passing through. This stands in dramatic contrast to the jubilance of the spitfires, which welcome the sun’s beams, translating them into a scattering of rainbow hues. Clarke’s holistic manipulation of light across the series of stained glass panels through his expert use of materials upends the meaning typically attached to the spitfire motif. Now when the aircraft comes into contact with the earth, it brings warmth and colour, rather than suffering and shadow.

The clouds were digitally printed in ceramic glazer and fired onto the glass. This blend of modern technology with centuries-old techniques, such as blown glass, adheres to Clarke’s decades-long career dedicated to working with stained glass. Nonetheless, after working with HENI in creating the dozens of individual stained glass panels, Clarke realised that “its secrets are still being teased out: step-by-step the medium reveals itself”.

Summer Solstice Spitfires

The ‘Summer Solstice Spitfires’ (G1, 2016) editions continue Brian Clarke’s radical experimentation in stained glass. Clarke’s practice is driven by the aspiration of “transporting post-industrial godless man to the edge of ecstasy”, undermining the religious and architectural connotations that typically limit stained glass.

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