Invaded Blossom TT5-1: from painting to a 592-print edition

Invaded Blossom, TT5-1, carries Invader’s Space Invaders into Damien Hirst’s cherry-blossom imagery as a 120-by-96-centimetre mounted print. HENI’s timed sale ran from March 26 to April 7, 2026, closing at 5 p.m. BST. That window has ended, and HENI subsequently confirmed an edition of 592. The number records the outcome of a demand-limited release: buyers ordered during the window before the final edition size was established.

White pixels interrupt the flowering

In the publisher’s image, broad white Space Invader shapes repeat across a turquoise field crowded with pink, white and darker blossom marks. Branches move diagonally through the image while the pixel characters hold to a regular, stepped geometry. The white forms read as interruptions in the flowering, letting the surrounding colour define their edges. This is a reading of the reproduced composition, rather than a claim about the print’s physical surface.

HENI’s account links Invader’s video-game characters to the presence of the digital world in everyday life. Here that language enters an image of seasonal growth. The contrast between a repeatable digital figure and irregular blossom gives the collaboration its particular tension: two forms of proliferation occupy the same field without adopting the same visual rhythm.

The companion print, Commanded Blossom, TT5-2, substitutes Shepard Fairey’s OBEY Icon for Invader’s characters and credits Fairey with Hirst. Both prints share the same dimensions and mounted Giclée format, but they carry different images and artist pairings. For someone collecting Invader’s collaborations, TT5-1 is the relevant work; the three names attached to the overall release do not mean that Fairey signed this edition.

What the edition carries over from the painting

The source painting is a 2025 oil on canvas measuring 305 by 244 centimetres. The 2026 print retains its 5:4 proportions at just under 40 percent of each linear dimension. Its medium is gloss Diasec-mounted Giclée on aluminium composite panel. Painted marks remain part of the reproduced image, while the support and surface belong to a different kind of object. An account of the original’s oil paint cannot serve as a description of material applied to each print.

The chronology also separates the exhibition from the edition. HENI associated the source works with Triple Trouble at Newport Street Gallery, which ended March 29, 2026. The print’s purchase window overlapped the exhibition’s final days and continued afterward. That relationship explains the image’s exhibition lineage without implying that every numbered print, or the 2026 edition itself, appeared in the gallery.

The TT5-1 specifications place both artists’ signatures and the numbering on a label. HENI supplied a rear sub-frame for hanging and no separate certificate of authenticity. Consequently, the label and mounting arrangement deserve attention alongside the front image when documenting a copy. A frame added later is a subsequent presentation choice, rather than an element required by the original configuration.

HENI finalized Commanded Blossom at 97, compared with Invaded Blossom’s 592. These separate denominators also matter when describing a pair: HENI allocated edition numbers randomly, so sharing the release does not establish matching numbers. Proof quantities and the original issue price remain unconfirmed here. The closed release page is a reference for the original offer, not evidence of a particular copy’s present availability.