Troubled Waters TT6: the three-artist HENI edition

Applications closed, edition specified

Troubled Waters, HENI edition TT6, brought Shepard Fairey, Damien Hirst and Invader together in a 2026 Diasec-mounted Giclée on aluminium composite panel. Applications opened September 3 and closed September 14 at 5 p.m. BST. The announced issue price was $5,000 before applicable taxes and shipping. This was an application-and-allocation release, so submitting early was not the same as securing a first-come, first-served purchase.

The artwork record specifies a 100-by-145.5-centimetre print, numbered and hand-signed by all three artists on its label. Its 200-copy edition is accompanied by 30 artist’s proofs. Keeping those quantities separate is more informative than describing an undifferentiated edition of 230; the main edition and proofs are different designations.

Three visual systems in one composition

HENI’s release account describes Fairey’s patterned paper components, Hirst’s organised coloured spots and Invader’s pixelated adaptation of Hokusai’s Great Wave. Invader explains that the collaboration began with eight works on paper sent by Fairey, assembled by Hirst before the final wave intervention. This account gives the image a sequence of transformations, rather than presenting it as three independent logos placed side by side.

The juxtaposition makes the work relevant to a collection interested in collaboration as a process. A grid can impose order, while a wave introduces directional movement; the friction between those organising devices is central to the composition’s premise. The title can consequently be read as describing a visual negotiation as well as a water subject. That interpretation does not require a claim that every motif means the same thing to each artist.

A 2026 edition after a 2025 original

The original work is dated 2025 and measures 333 by 488 centimetres. HENI lists its materials as acrylic, spray paint and enamel-coated card on canvas. TT6 is a later mounted print with a different physical support and a substantially smaller scale. The original’s exhibition history supplies context, but does not move the print’s release into 2025.

The distinction also changes what the collector is evaluating. Surface, mount and signed label belong to the edition’s configuration; the original painting’s mixed-media construction should not be attributed literally to the print. The three signatures document this edition’s joint authorship, while the edition code distinguishes it from merchandise or other reproductions associated with Triple Trouble.

What remains relevant after allocation closes

As of October 7, the application window has ended. HENI’s estimated dispatch timetable does not establish the completion of allocations or delivery of a particular copy. The publisher states that no separate certificate of authenticity accompanies the edition. Anyone assessing an offered example should therefore distinguish the supplied signed label from an unrelated certificate and ask for evidence specific to that copy, rather than treating the closed application page as proof of present stock.