Damien Hirst's "Natural History" series, initiated in 1991 and ongoing, marks a groundbreaking exploration of the intersection between art, life, and science through the use of formaldehyde preservation. This series is distinguished by its employment of animals, ranging from sheep and sharks to calves and even a "unicorn," preserved in formaldehyde and displayed within steel and glass tanks. These works probe themes of death, preservation, and the ephemeral nature of life, encapsulating Hirst's fascination with the cycle of life and the inevitability of death.

One of the hallmark works of this series is "The Physical Impossibility of Death in the Mind of Someone Living" from 1991, which features a 14-foot tiger shark suspended in a tank of formaldehyde. This and other works in the series, such as "The Ascension" (2003), "Saint Philip" (2005), and "The Beheading of John the Baptist" (2006), not only challenge viewers' perceptions of art and mortality but also delve into Hirst's ongoing investigation into the possibilities of scientific techniques as art forms. The inclusion of animals in states of preservation serves as a metaphor for the fragility of existence and the human desire to capture and hold onto life​ (Gagosian)​​ (Designboom)​.

Hirst's formaldehyde sculptures, showcased in exhibitions like the one at Gagosian London, underscore his commitment to blending art with science. The series features a diverse range of animals preserved in formaldehyde, encased in heavy frame tanks that have become synonymous with Hirst's work since the 1990s. These vitrines, rooted in themes of fragility and a desire to isolate and protect, ultimately reflect on the futility of preservation against the backdrop of inevitable mortality. This exhibition, which spanned over thirty years of Hirst's career, brought together many of these iconic works for the first time, offering a comprehensive look at his enduring fascination with life, death, and the art of preservation​ (Designboom)​.

Damien Hirst's "Natural History" series represents a bold foray into the use of scientific processes in the service of art, questioning the boundaries between the two disciplines and engaging deeply with existential themes that resonate with audiences worldwide.