David Hockney: A Matter of Perspective
STPI Gallery continues its 15th anniversary celebrations with David Hockney. The exhibition of 36 carefully selected works drawn mostly from the Singapore Art Museum Collection presents how Britain鈥檚 most celebrated living artist continues to push the boundaries of print techniques, investigating the one intrigue which defines his entire prolific career: perspectives.
A rebel among his contemporaries, Hockney (b.1937) 鈥� largely known for his portraits and vast landscapes 鈥� is also recognized for his refusal to be pigeonholed in a particular medium or artistic style. Over the span of six decades, he constantly experimented with numerous materials and methods available, embracing an open-minded approach to art and technology (including sketching with iPads) that led to his acclaim and relevance today.
The works presented here look into the technical challenges within the process of depiction to address two fundamental questions: 鈥淗ow do we see? How do we depict?鈥� They go against the popular vanishing point perspective, which, to Hockney, limits the audience by keeping them outside of the painting. The artist believes that the human eye is more fluid and dynamic than a single point of view. Through employing multiple perspectives, which reflect the moving focus of the human eye, Hockney masterfully absorbs the viewer into the work, making them a part of the world instead of a mere onlooker.
This is shown in his innovative still-life lithographs such as 鈥榃alking Past Two Chairs鈥� (1986), where he lends from Cubism to capture time and space, as well as the more recent photographic drawing 鈥�4 Blue Stools鈥� (2014), a digital collage of photographs that breaks away from photography鈥檚 single point perspective.
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STPI Gallery continues its 15th anniversary celebrations with David Hockney. The exhibition of 36 carefully selected works drawn mostly from the Singapore Art Museum Collection presents how Britain鈥檚 most celebrated living artist continues to push the boundaries of print techniques, investigating the one intrigue which defines his entire prolific career: perspectives.
A rebel among his contemporaries, Hockney (b.1937) 鈥� largely known for his portraits and vast landscapes 鈥� is also recognized for his refusal to be pigeonholed in a particular medium or artistic style. Over the span of six decades, he constantly experimented with numerous materials and methods available, embracing an open-minded approach to art and technology (including sketching with iPads) that led to his acclaim and relevance today.
The works presented here look into the technical challenges within the process of depiction to address two fundamental questions: 鈥淗ow do we see? How do we depict?鈥� They go against the popular vanishing point perspective, which, to Hockney, limits the audience by keeping them outside of the painting. The artist believes that the human eye is more fluid and dynamic than a single point of view. Through employing multiple perspectives, which reflect the moving focus of the human eye, Hockney masterfully absorbs the viewer into the work, making them a part of the world instead of a mere onlooker.
This is shown in his innovative still-life lithographs such as 鈥榃alking Past Two Chairs鈥� (1986), where he lends from Cubism to capture time and space, as well as the more recent photographic drawing 鈥�4 Blue Stools鈥� (2014), a digital collage of photographs that breaks away from photography鈥檚 single point perspective.
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