"People are afraid of change, so you create a kind of belief for them through repetition. It's like breathing. I've always been drawn to series and pairs. A unique thing is quite a frightening object."
— Damien Hirst

Possessing an astonishing medley of cool-toned, earthy hues, Damien Hirst’s Ascent is a profound and deeply meditative example of the artist’s renowned Kaleidoscope paintings. Part of his Mandalas series, the tondo composition—constructed with meticulously arranged butterfly wings and household gloss on canvas—resonates with themes of sacred geometry, celestial ascent, and mortality. Vibrant, iridescent wings are set in a meticulous pattern of concentric circles, with a single yellow butterfly placed brilliantly at the work’s centre. In its scale and kaleidoscopic  Ascent evokes the grandeur and awe-inspiring effects of stained-glass windows, calling to mind the religious sanctuary of Gothic cathedrals. Hirst first began manipulating the butterfly motif into dizzying geometric compositions in 2001. These early Kaleidoscope paintings directly referenced Christian iconography—the artist went so far as to produce a collection of works named after entries in the Book of Psalms.

Yet, in this more recent series beginning in 2018, Hirst turns his attention to Eastern philosophical traditions, finding inspiration in the mandala: a highly patterned spiritual diagram representing the cosmos or universe in Hindu, Buddhist, Jain or Shinto traditions. In Ascent, Hirst’s use of a circular pattern billowing outwards from a central point mirrors the sacred geometries of the mandala. The repetition of symmetrical forms creates a visual rhythm that both captivates and invites contemplation. Michael Bracewell describes Hirst’s Mandala paintings as possessing a ‘mesmeric composition seeming to radiate concentrically inwards or plunge towards a central point.’ⁱ This optical dynamism aligns with the meditative purpose of mandalas, guiding the viewer into a contemplative state.

 

Gothic Cathedrals and the Ascent of the Soul

Visually, Ascent bears a strong resemblance to the stained-glass windows decorating the interiors of Gothic cathedrals. The rose window in the west façade of Notre Dame Cathedral, for example, shares Hirst’s symmetrical intricacy and illuminating interplay of colour. These medieval stained-glass windows were designed to elevate the soul and train our sights on heaven, their luminous compositions acting as conduits of divine presence. Hirst’s butterflies, with their jewel-like colours and fragile beauty, mimic the effect of stained glass but introduce the concept of our own mortality.  Unlike the eternal glow of coloured glass, Hirst’s butterflies were once living, breathing creatures—a reminder of the inevitable passage of time.
 

The title Ascent further enriches the work’s spiritual dimension, seemingly referencing the mystical concept of the soul’s ascent through celestial spheres. This idea is explored in medieval philosophy and Dante’s Paradiso, where the protagonist journeys through nine spheres of heaven, each representing a stage of enlightenment. Ascent echoes this structure, with its concentric arrangement symbolising the gradual transcendence from material existence to a higher spiritual plane. This understanding of ascension similarly finds roots in Eastern philosophy, seen as a process of transcending the human condition to reach a higher universal. Hirst masterfully engages themes of spirituality, mortality and the afterlife through a distinctly contemporary visual language.
 

Butterflies and the Fragility of Life

The butterfly, historically associated with metamorphosis, rebirth, and fragility, is an ideal symbol for Hirst’s career-long reflection on mortality. As Rod Mengham observes, ‘In the classical tradition, the butterfly was identified with the soul, its physical beauty an indication of divine potential.’ⁱⁱ In Ascent, the delicate, iridescent wings—once living creatures—are eternally preserved within a rigid, geometric design. This contrast between organic ephemerality and structured permanence is central to Hirst’s exploration of life’s transience and art’s ability to suspend time. As Hirst himself once remarked, ‘Art’s about life, and it can’t really be about anything else […] there isn’t anything else.’ⁱⁱⁱ Ascent embodies this philosophy, capturing the ephemeral beauty of existence while inviting us to contemplate what lies beyond. In doing so, it stands as a contemporary memento mori, a reminder of the delicate balance between life and death, chaos and order, the material and the divine.

 

Collector’s Digest

• Butterflies are one of the most prominent motifs in Damien Hirst’s visual lexicon; they are used to symbolise love, beauty and the fragility of life. At his major solo exhibition at the Tate Modern in 2012, Hirst created a butterfly sanctuary in the gallery space where thousands of butterflies lived and died throughout the 23-week installation
• Damien Hirst came to prominence as a member of the Young British Artists, or YBAs, in the 1990s alongside Tracey Emin, Sarah Lucas and Jenny Saville
• Since 1987, Hirst has been the subject of over ninety solo exhibitions worldwide, including at the Qatar Museums Authority, ALRIQAX Doha; Tate Modern, London; Rijksmuseum, Amsterdam; and the Museo Archeologico Nazionale, Naples

 

 

ⁱ Michael Bracewell, ‘Kaleidoscope’, Damien Hirst: The Complete Psalm Paintings, London: Other Criteria, 2014, p. 7.

ⁱⁱ Rod Mengham, ‘Butterfly Affect’, Damien Hirst: Mandalas, exh. cat, White Cube, London, 2019, 4

ⁱⁱⁱ Damien Hirst, quoted in Amie Corry, ‘Light in Darkness’, Damien Hirst: The Complete Psalm Paintings, London: Other Criteria, 2014, p. 13.