David Hockney
(1982) 
 

Next a photo collage of Hockneys mother at Bolton Abbey. Hockney made this photo collage titled My Mother, Bolton Abbey, Yorkshire,  in November 1982. The style of this montage was termed Photo Joiners by Hockney. 

https://www.artchive.com/artwork/my-mother-bolton-abbet-david-hockney/

Mother, Bolton Abbey
1982
Photographic print
Edition of 20
119 x 69 cm
Among others: The National Media Museum, Bradford
Private collections

https://www.myartbroker.com/artist-david-hockney/collection-photo-collages/artwork-my-mother-bolton-abbey-yorkshire-november-signed-print?lang=en&slug=david-hockney&collectionTaxonomy=collection&collection=photo-collages&artworkSlug=my-mother-bolton-abbey-yorkshire-november-signed-print

 <b>David Hockney</b>
(1982) 
 

Next is a portrait of John Kasmin, the London art dealer who was instrumental in establishing David Hockney's career during the 1960s. But again this is no ordinary portrait. As with the previous ones this is also built from dozens of separate photographs, each taken from a slightly different angle and at a slightly different moment. Hockney believed that our eyes never remain fixed like a camera lens. We constantly scan a face, assembling our own mental image. With his photographic joiners, he tried to recreate that experience, inviting us to look at the portrait the way we naturally look at a person.

Kasmin, Los Angeles 28th March 1982
1982
Photographic Joiner
106 x 75.6 cm
David Hockney collection
https://www.artchive.com/artwork/kasmin-los-angeles-28th-march-1982-david-hockney-1982/

David Hockney
(1986)

 'Pearblossom Highway' shows a crossroads in a very wide open space, which you only get a sense of in the western United States. . . . [The] picture was not just about a crossroads, but about us driving around. I'd had three days of driving and being the passenger. The driver and the passenger see the road in different ways. When you drive you read all the road signs, but when you're the passenger, you don't, you can decide to look where you want. And the picture dealt with that: on the right-hand side of the road it's as if you're the driver, reading traffic signs to tell you what to do and so on, and on the left-hand side it's as if you're a passenger going along the road more slowly, looking all around. So the picture is about driving without the car being in it.
Thus David Hockney described the circumstances leading to the creation of this photocollage of the scenic Pearblossom Highway north of Los Angeles. His detailed collage reveals the more mundane observations of a road trip. The littered cans and bottles and the meandering line where the pavement ends and the sand begins point to the interruption of the desert landscape by the roads cutting through it and the imprint of careless travelers.

https://www.getty.edu/art/collection/object/103QT4

Pearblossom Highway
April 11-18, 1986
Chromogenic print
181.6 × 271.8 cm
Getty Center, L.A.
https://www.getty.edu/art/collection/object/103QT4

 <b>David Hockney</b>
(1982) 

Next works by Hockney are from the series of photo collage works. Hockney would use many pieces of photographs to develop a montage that would show a wholesome picture but appear distorted. 
The style of this montage was termed Photo Joiners by Hockney. He shared that these works are inspired by Cubism. He stated, “Cubism is difficult to grasp, even for me. I’ve looked at some cubist paintings for 25 years without understanding them. People said cubism led to abstraction but that’s another art-history swindle. Suddenly I see cubism differently, more clearly. And my experiments have led me to a couple of theories of my own…”

Gregory Swimming, Los Angeles
1982
Composite polaroid
68.5 x 130 cm
Private collection

Gregory Swimming, Instalation

 David Hockney
(1984 - 1986) 


Moving Focus Series

David Hockney’s Moving Focus series, 1984–1986, comprises of 26 lithographs exploring interiors, portraits, and architectural spaces through shifting viewpoints. Created with printer Kenneth Tyler, the series reflects David Hockney’s interest in multipoint perspective, moving beyond traditional composition to capture the experience of being within a space. Key works such as The Perspective Lesson and Hotel Acatlán: Second Day highlight the series’ importance within Hockney’s printmaking career.
 
In Moving Focus, David Hockney challenges the single-point perspective that has defined Western art since the Renaissance, instead constructing compositions that shift across multiple viewpoints. Influenced by Cubism and his work in opera set design, he presents space as something fluid and experienced over time rather than fixed and static. This approach was further shaped by his encounter with Chinese scroll paintings during a trip in 1981, where images unfold gradually across extended horizontal formats.

An Image of Gregory, 1984-85
Lithograph printed in colours with collage additions on two sheets of TGL handmade paper
82.7 cm × 66.5 cm, 116.7 cm × 90.6 cm
Edition of 75 plus 18 artist's proofs
https://geistmc.com/our-artists/david-hockney/moving-focus/

 David Hockney
(1983) 

In the autumn of 1983 Hockney made a whole series of self portraits in charcoal. Mostly early in the morning.
This is one of the 26th of September.

Self-portrait 26th Sept.
1983
Charcoal on paper
76.2 x 57.2 cm
SFMOMA, San Francisco
https://www.sfmoma.org/artwork/FC.642/
https://www.thedavidhockneyfoundation.org/chronology/1983

 David Hockney
(1971) 
 

Textile designer, Celia Birtwell, has been a dear friend and close confidante to David Hockney since the 1960s. With their northern roots and shared sense of humour, they found they had much in common from their first meeting and together they were at the heart of bohemian London. The artist has always been fascinated by the changing nature of Celia’s face, and she remained one of his favourite models.

Although often dubbed Hockney’s ‘muse’, their relationship is much more than that. They have always admired each other’s work and her sittings for him have been collaborations, as well as an opportunity to enjoy each other’s company. In his portraits of Celia, the artist has always paid close attention to her distinctive and romantic fabric designs and some of Celia’s own work is inspired by the artist.

Celia Carennac, August 1971
1971
Colored pencil on paper
The Morgan Library & Museum, N.Y.
https://www.themorgan.org/exhibitions/online/celia-carennac-august-1971