The unsettling display of our selfish needs for material wealth through currency and the glittering of gems show an abstracted view of economic power in the fiction sense. The spectre form of the skull, grim, context and unmoral care look of luminous hope. The replica skull was encrusted all over with thousands of small diamonds. No space was spared, the nose and eye sockets covered up so there was no area for no diamonds to go. There is an allusion to Hirst's piece here with the skull's "scintillating light is blind".
Its gaze drawn to something more ' fabulous ' ornament mounted atop the skull's forehead. The teeth from the original skull were included into the replica variant. They are a surreal sinister smile for extreme mockery to cut into one's soul. It's a curious look of death, stranger than the black grittiness nature of the subject. Its eerie stature puts common folk in our place in its answering silence. Inevitable close to death is a human nature. this fear keeps us on our toes.
For in sense of money it's slimy with various characters plotting for their parents' wealth and object of extreme value. In which is like butter to those who cannot hold it. In the way the gems are arranged its displayed in a domestic manner of a wealthy interior as to show off. It has human eerie wisdom and knowledge through the various smaller gems display the IQ of the deceased. In the Hirst's work to create a victory in dead that subverts the living. It expresses pride of intelligence. However, pride is also a weakness to a strategist of subversion. Will never get keep our wealth as its never eternal.
Hirst linked this work in a religious sub-context for this project in the narrative telling of Christian religious ideology. Though the idea of a live beyond or lit days life a top the words crust before the day that cannot be avoided. Further back to “Medieval and Byzantine models of love and life”. The photographs very formal in the mugshots. With the piece in a museum encrusted glittering at rest shown artistly as an historical object. It challenges taking sculpture to the next level of what can be done from the point of context to the developmental stage. How deep into a subject are we going to investigate?