The work of David Hockney was re-identified to me in a recent TV documentary. Whilst his personal life and how this relates to his paintings is interesting, what I found that stuck out the most to me was Hockney’s attitude towards perspective. As demonstrated in his photo joiners, Hockney explores a new way of enhancing the special awareness of a location through the use of multiple photographs of the same place all layered together. According to Hockney, “Cameras see surfaces, not angles” and so it could be said that these joiners are an attempt at widening perspective and imitating three-dimensional space. A recent experiment in a new medium has been the use of video cameras to capture moving images, but staying in the same structure as his Polaroid or painted grids. Hockney has used a series of 9 individual cameras, connected to a bracket in a 3x3 grid formation attached to the front of a Landrover, and together they all film the same location at the same time, only each is at a slightly different angle. The advantage with this is that the video as a whole is entirely in focus, each camera focuses within its own view and so the foreground, middle ground and background are all equally in focus to one another, providing a heightened clarity to the images. Hockney has also explored the idea of time and its effect on a location, filming the same places time and time again to get an idea of how the environment changes seasonally. “The viewer becomes the vanishing point; the world opens out to you”. These recent photographs that I have taken are experiments to show the transition between landscapes within the printed context of a book. I thought that they were quite interesting to think about in the context of Hockney’s photographic work, and the combination of considered perspective and the act of capturing nature.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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