Away from the Flock, 1994

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Damien Hirst

Away from the Flock

1994

Glass, painted steel, silicone, acrylic, plastic, lamb and formaldehyde solution

960 x 1490 x 510 mm | 37.8 x 58.7 x 20.1 in | Edition 3 of 3 + 1 AP

Image: Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2012

Exhibitions (7)

Solo Exhibition - 2015
The Pier Arts Centre, Orkney, United Kingdom
Solo Exhibition - 2012
The New Art Gallery Walsall, Walsall, United Kingdom
Solo Exhibition - 2012
Tate Modern, London, United Kingdom
Solo Exhibition - 2011
Tate Britain, London, United Kingdom
Solo Exhibition - 2011
Leeds City Gallery, Leeds, United Kingdom
Solo Exhibition - 2009
Scottish National Gallery of Modern Art, Edinburgh, United Kingdom
Group Exhibition - 1996
The Bowes Museum, County Durham, United Kingdom

Context

“It’s not a ‘preserved’ lamb, it’s a dead lamb. But then it does have a kind of new life.”[1]

‘Away from the Flock’, a lamb in a tank of formaldehyde solution, was first shown in the group exhibition curated by Hirst, ‘Some Went Mad, Some Ran Away’, at the Serpentine Gallery, London (1994). It is a key early work in Hirst’s, ‘Natural History’ series.

In ‘Away from the Flock’, Hirst addresses, “that failure of trying so hard to do something that you destroy the thing that you’re trying to preserve.”[2] The title came after Hirst completed the work and observed the “tragic beauty” of the animal. The lamb, identifiable within Christian iconography as Jesus, has been separated by death from the living so that, “you kind of feel sorry for it.”[3]

An edition of ‘Away from the Flock’ was acquired jointly by the Tate Collection and National Galleries of Scotland through The Antony d'Offay Donation in 2008. Since when it’s been included in the Tate Gallery’s touring ‘ARTISTS ROOMS’ exhibition.



[1] Damien Hirst cited in Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 219.

[2] Damien Hirst cited in, Damien Hirst ‘I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now’ (Booth-Clibborn Editions; Reduced edition, 2005), 296.

[3] 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),138.