Praises for Damien Hirst are already forgotten. Critics who once helped him to reach the top now diss him as a commercial brand and nothing more. The artist himself seems not interested in that and keeps doing what he likes: collaborating with posh restaurants or stitching backpacks with the fashionable Olsen sisters.
There is no exaggeration saying that Damien Hirst is the past. The young lithuanian artist Egle Karpaviciute (1984) also thinks so but respects his input into shaking up art processes. She declared that by making a portrait of Hirst. We can notice his anxious screaming face placed in a space very similar to his own formaldehyde reservoirs. But this is not just a tribute to Hirst. The painting provokes a conversation about the death of painting and in this case, having in mind the beginning of Hirst‘s career as a painter, operates like a witty revenge.
Karpaviciute uses painting as the most archaic and oldest form of creative expression. The subjects she choses to paint are preserved like a relict, a symbol of the past. Damien Hirst is preserved like a figure who was important for changing direction of art. The portrait becomes a monument for painting, declaring its power and superiority
Egl? Karpavi?i?t? was awarded the Young Painter Prize by the public in 2012. She exhibited work as a finalist in the Sovereign European Art Prize 2011 exhibition in Istanbul. Her paintings have been shown in Lithuania, Poland, Italy, France and Switzerland.