Third Eye Butterfly Mandala: the four 2026 HENI editions

The four-edition map

Third Eye Butterfly Mandala was a timed HENI release by Shepard Fairey and Damien Hirst, open from March 5 until March 16, 2026 at 5 p.m. GMT. The primary window has ended. Blue and Cream each appeared in Small and Large sizes, creating four separately identified editions. These are 2026 Giclée prints on smooth cotton rag, not the original 2025 paintings and not the earlier TT3 Hope Paintings release.

The Small versions were issued at $2,500 each before tax and delivery, measuring 107.1 by 80.9 centimetres framed. The Large versions were $10,000 each and measure 226.9 by 167.3 centimetres framed. White aluminium frames with UV acrylic were part of the specified presentation. These are framed measurements: treating them as image or sheet dimensions would distort a comparison with an unframed print.

Colour and size have separate identities

TT4-1A is Blue, Large, with a finalized edition of 23; TT4-1B is Blue, Small, with 267. TT4-2A is Cream, Large, with 19; TT4-2B is Cream, Small, with 132. The final counts were published by HENI after the timed window. Their differences describe how many editions resulted from that release process; they do not establish a resale hierarchy or prove that one colour is artistically more important.

For identification, all three parts of the label matter: composition, size and TT4 code. “Blue Mandala” alone leaves two substantially different objects unresolved. The Large dimensions make that version a room-defining installation rather than a modest enlargement. Its $10,000 starting price was four times the Small price, while its framed footprint was larger in both directions. The Small edition still exceeds a metre on its long side.

A collaboration with a specific visual premise

The publisher’s account describes Hirst’s butterfly-wing imagery organised into mandalas around Fairey’s Make Art Not War figure and third-eye motif. HENI connects the work to peace and harmony. The combination matters because the shared circular structure supplies a meeting point between the artists’ vocabularies; it is not merely a pair of signatures added to an unrelated existing image.

The Blue original and Cream original belong to the 2025 Triple Trouble paintings. Moving from those originals to a 2026 print edition changes the object’s medium, scale and edition status, even while retaining the composition. A collection record should therefore preserve both dates in their proper roles, rather than assigning the print the painting’s year.

Signatures and the closed window

Both artists hand-signed the prints, and the numbering is on the front. HENI states that these editions do not come with a separate certificate of authenticity. That documented choice should not be mistaken for a missing accessory. Edition numbers were allocated rather than selected by buyers. The original shipping timetable was an estimate after the purchase window, not proof that every order was delivered on a particular date. Actual fulfilment dates and proof quantities remain unestablished here.

Reading the Blue composition

The exact Blue Large publisher image makes the division of visual labour particularly clear. A dark-haired face is held within concentric butterfly-patterned bands. A separate eye sits between the portrait and a red circular field below. Blue at the perimeter and red below the face create two strong zones of attention. The portrait remains immediately legible while the surrounding detail rewards a slower, closer look.

That alternation between a bold emblem and fine repetition is a practical reason to take scale seriously. The Small and Large versions carry the same named composition, but their substantially different framed dimensions change how far away the central face can dominate before the surrounding patterns become individually readable. It is a display trade-off rather than a quality ranking between the two editions.