Theology by the Slice: God, Godlessness and Contemporary Art: On Damien Hirst

We kicked off the new semester with a talk by Prof. Peter Fritz of the Religious Studies Department. Prof. Fritz has spoken to us once before* (on the topic of relating to Mary), and we were thrilled to have him back. He earned his bachelor’s degree from Loyola University Chicago, where he majored in studio art and theology, and he went on to earn his doctorate in theology from the University of Notre Dame. His research is (in part) in theological aesthetics, which includes studying art. He spoke to us in January on contemporary artist Damien Hirst and whether the professedly atheistic artist’s work was at all influenced by his “Catholic imagination.”

Damien Hirst (1965 –) was born in Bristol, England and grew up in Leeds. He studied art at Goldsmiths, University of London. He likes to create series of works with a particular theme. Some of his collections include a Natural History series and a series of dead animals submerged in formaldehyde.  

It has been observed that some of Hirst’s artwork seems to draw heavily from Christian iconography. His work Saint Sebastian, Exquisite Pain, which features a bull submerged in formaldehyde tied to a steel pole and pierced with arrows, is based on many classic depictions of the martyrdom of St. Sebastian.  Likewise, his piece God Only Knows features three flayed sheep nailed to crosses, which clearly draws from many traditional paintings of the crucifixion. Hirst evidently considers religious themes when he makes his pieces. The question is, then, what is the place of God in Hirst’s artwork, especially considering that he is a professed atheist

The Martyrdom of St. Sebastian (1525), by Il Sodoma

Saint Sebastian, Exquisite Pain (2007)

In pondering this question, we should consider the possibility of Hirst’s Catholic imagination. The Catholic imagination, as theologian David Tracy describes it, allows us to find God’s presence in profane things, because all of creation participates in and is sustained by God’s gift. At first glance, it might seem that Hirst’s work is devoid of any Catholic imagination. His piece Trinity – Pharmacology, Physiology, Pathology, for example, depicts a “trinity” of three very carnal and material elements. It is firmly grounded in the world and lacking in anything spiritual.

Trinity – Pharmacology, Physiology, Pathology (2000)

Yet Hirst has also indicated that his artwork is informed, to some degree, by spiritual themes. He said in an interview that art and science are both lacking in spirituality, and that all three need to work with each other. At the very least, he indicates the possibility of a dialogue between faith and reason. And some of his other works point toward a spiritual sense. Consider, for example, this fascinating piece called The Incomplete Truth.

The Incomplete Truth (2006)

Prof. Fritz concluded his presentation with a discussion about the possible spiritual themes that could be present in Hirst’s artwork, as well as about the nature of art itself and its relation to faith.   

We sincerely thank Prof. Fritz for returning for another Theology by the Slice talk, and for all the work he put into this stimulating presentation.

*"Why is She Our Lady? Relating to Mary." Delivered on 4.10.13