Susie Trash continues the audacious material language established in this Hirst-Invader pairing, using the literal contents of an ashtray as its primary medium to blur the line between refuse and relic. Hirst's conceptual lineage — from animals in formaldehyde to pharmaceutical spot paintings — finds a gritty, street-level counterpart here, as the discarded becomes deliberate and the mundane becomes monumental. The acrylic and paint serve as both binder and backdrop, giving the ash and cigarette remnants a formal structure that echoes Invader's grid-based, tile-like compositions drawn from 8-bit video game culture. The name 'Susie Trash' personifies the medium itself, anthropomorphizing waste in a way that challenges the viewer's perception of beauty, identity, and value. This work speaks to a shared ethos between Hirst and Invader: that culture's overlooked margins — whether back-alley walls or overflowing ashtrays — hold as much artistic validity as any museum-sanctioned material.