In the realm of art, comparing Damien Hirst’s paintings to the works of the Old Masters might be considered a predictable platitude. Yet, during a recent visit to Frieze London, Rakewell, our discerning observer, found himself somewhat taken aback. Not only did Gagosian devote a solo booth to Hirst’s new series, ‘The Secret Gardens Paintings’ (2023), featuring Hirst’s take on straightforward flowers adorned with almost an afterthought layer of Action painting-ish splatters, but to his surprise, the entire collection had virtually sold out before many had even cast a discerning eye upon them.
This new series marks a departure from the once-exciting artist’s earlier works and has left some questioning its resonance. The notion of a thousand lifelike snails by Patrick Goddard at Seventeen Gallery sliming their way over to disrupt the complacency of the whole affair seemed almost tempting. As Frieze London commemorates its 20th anniversary, the juxtaposition between this somewhat conventional art event (the likes of which may even spark a debate about which VIP lounge was a personal favorite) and the artist closely linked with the exhilarating early 2000s art scene is, in itself, a compelling comparison.
To rekindle one’s faith in flower painting, Rakewell recommends a visit to Frieze Masters. Among the horticultural highlights are Jan Brueghel the Younger’s ‘Bouquet of Flowers in a Porcelain Vase’ (c. 1620s) at De Jonckheere Gallery, an exquisitely composed bouquet graced by a pair of blue mayflies; mid-20th-century bouquets in vases by Zenzaburo Kojima at Nonaka-Hill; and the ‘Ditchley Park Cabinet,’ an enchanting creation featuring pietra dura flowers and parrots from 17th-century Florence at James Graham-Stewart Ltd. Let us not overlook the genuine flora that adorns Regent’s Park’s Avenue Gardens, which provides a refreshing interlude as one navigates between the exhibition tents.
