Trouble Damien Hirst sees Invader turn his ceramic tile mosaic lens on the most establishment-disrupting figure within the Triple Trouble triumvirate, rendering Hirst's recognisable face in the pixelated language of 8-bit gaming on an aluminium ground. The juxtaposition is richly provocative: Hirst, whose spot paintings reduce colour to systematic, emotionally detached repetition, is here himself reduced to a grid of coloured units — tiles playing the role of spots, mosaic standing in for methodical seriality. This creates an elegant visual rhyme between the two artists' practices, suggesting that beneath the surface, their obsessions with repetition, pattern, and the grid are kindred. The aluminium backing lends the work an institutional sheen, nodding to Hirst's own navigation of the fine art market and gallery world while Invader remains defiantly street-level in his methodology. Within the collaboration, this portrait functions as both homage and gentle subversion, pixelating the art world's enfant terrible into the democratic, egalitarian visual grammar of a video game.