LONDON DADA Work 1000; Set the Spots Free, Free Art from its Sterile Straightjacket

Last in the Damien Hirst at Houghton Hall Dada Infiltration mini-series

The Emperor’s New Spots..

Set the Spots Free  /  Free Art from Limitation
© Art Axis 2018

Direct action Work

Multicolored paper spots 1cm dia scattered in front of one of many Damien Hirst spot paintings hung in Houghton Hall, Norfolk earlier this year.


Links to the three previous Damien Hirst at Houghton Hall photo Works are posted to our Flikr archive resource.

The Hats Make the Couple
Free Art from its Dark Prison
” Highlight of the Show “

Links in principle to London Dada protest Happening Tate Modern Transition from 2016

The artist expands awareness and when the breakthrough is made, this becomes part of the general awareness ” -William S. Burroughs


*Addendum 2019; English artist Stuart Semple uses the LD floor spot protest concept in his admirable expose of Anish Kapoor’s mean-minded refusal to share his “blackest black” Vantablack paint with other artists.


YouTube link here


Links to Damien Hirst‘s blatant plagiarism of London Dada;s ” Log Fish – An Unbelievable treasure from the Deep ” for his cynical 2017 Venice show ” Treasures from the wreck of the unbelievable “


  • Where do the spots go from here?  ( published 04 / 09/ 2018 )The boy Hirst exhausted his regimented spots way back, then this year at Houghton Hall he exhibited them loosened and slightly overlapping..
    Also at HH were London Dada’s spots, freed from their 2D world and out, but static, on the floor.
    So artist Michael St.Mark proposes a giant see-thru perspex container to occupy Tate Modern’s Turbine Hall, over which visitors cross on suspended walkways, underneath which, near the floor, are a bank of industrial AC fans that set  hundreds of thousands of mono or multicoloured wafer-thin environmentally- friendly plastic or paper spots in a perpetual swirling snowstorm within the container.
    Alternatively, and probably logistically more straightforward, would be to fit the Hall with a  grid-like network or challenging maze of large ( c. 7 -8ft ) diameter tubes, through which the spots are blown and circulated – and of course also through which visitors walk. A marvellous and guaranteed crowd-pulling visually immersive spectacle and experience – and at last the spots are airborne en masse and literally surrounding the public, thus finally democratising them – and the idea herewith given to Maria Balshaw for safekeeping.
  • UPDATE January 2023
    After 4 years, it’s Louis Vuitton that obliges by first adopting London Dada’s concept and furthermore using Michael St.Mark’s drip spot painting technique from 2019

Section from Drip Spot Painting No. 2 (c) Michael St.Mark 2019

London Dada Work No. 959; tHIRST II – portrait of a creatively dehydrated artist

( Portrait of a creatively dehydrated artist )
Art Axis 2017

Discarded flattened fast food drinks container lid with straw languishing on a tradesman’s’ entrance back alley access road, High Barnet
(Double click on the image for full resolution)
Signed print edition availability details tf

Second in the series, timed to coincide with Damien Hirst’s latest exercise in organized cynical plagiarism passing for an art show, titled ” Treasures From the Wreck of the Unbelievable”, unique concept for which he lifted hook line & sinker from London Dada artist Dingo’s 2008 WorkLoggus Fishious Extraordinarious; an Unbelievable Treasure from the Deep “

Links to tHIRST 1


LD Archive / Invest
FastView Flikr archive 2005 – 2017

London Dada Halloween Special

British artist Damien Hirst poses with a diamond-encrusted platinum skull, in London

British artist Damien Hirst poses with a diamond-encrusted platinum skull in this undated handout file photograph released in London June 1, 2007. The skull, by artist Damien Hirst, has been sold to an investment group for the asking price of $100 million, a spokeswoman for Hirst’s London gallery White Cube said on August 30, 2007.

Damien Hirst & diamond skull in ‘dark pixel’ TM appropriation
c. Michael St.Mark

Links back to Work 734 from earlier this year