Adam and Eve Towards the End, 2004



Adam and Eve Towards the End
2130 x 3360 x 1830 mm | 83.9 x 132.3 x 72.1 in
Glass, painted steel, silicone rubber, soil, children’s toys, jigsaw puzzle pieces, half a bureau and chair, tweed jacket, cardigan, prosthetic limb, pornographic magazines, cigarettes and other gentlemen’s paraphernalia, half a dressing table and stool, dressing gown, underwear, ornaments, medicines, magazines, lipstick, tampons and other ladies' paraphernalia
Image: Photographed by Stephen White © Damien Hirst and Science Ltd. All rights reserved, DACS 2012


Group Exhibition - 2004
Tate Britain, London, United Kingdom


‘Adam and Eve Towards the End’ is one of six vitrine works which use the biblical figures to represent man and woman as perceived by the artist today. Described by Hirst as “variations on decay”, they explore the “ongoing problem about relationships between men and women, or couples, or two people trying to be together”.[1]

In ‘Adam and Eve Towards the End’ the steel and glass vitrine is divided down the middle indiscriminately: his bureau and her dressing table sawn in half. Both compartments, one for him and one for her, are littered with the paraphernalia of an ageing couple. Items denoting innocence and happiness, such as children’s toys and puzzles, are interspersed with symbols of deterioration: denture glue, cigarettes, porn and prosthetic limbs.

The work was first exhibited in the three-person show, ‘In-A-Gadda-Da-Vida, in which Hirst collaborated with Angus Fairhurst and Sarah Lucas (Tate Britain, 2004). ‘In-A-Gadda-Da-Vida’ included another work ‘Adam and Eve Exposed’ (2004), in which two covered figures laid out on autopsy tables are displayed within a split vitrine.

[1] Damien Hirst cited in ‘Like People, Like Flies: Damien Hirst Interviewed’, Mirta D’Argenzio, ‘The Agony and the Ecstasy: Selected Works from 1989–2004’ (Electa Napoli, 2004), 241