IN THE STUDIO 

David Hockney, In the Studio, December 2017, Inkjet prints on paper, mounted on aluminium, 278 × 760 cm, Tate: Presented by the artist 2018, © David Hockney, assisted by Jonathan Wilkinson 

Endel Lepp, In the Studio, June 2026, Inkjet prints on paper, mounted on aluminium, 278 × 760 cm, Tate: Presented by the artist 2026, © Endel Lepp, assisted by Kumari Vaim

“Most people feel the world looks like the photograph. I’ve almost always assumed that the photograph is nearly right, but that that little by which it misses makes it miss by a mile. That is what I grope at.”
David Hockney, 2011 

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https://www.hockney2022.ch/en/hockney/in-the-studio/ 

Welcome to David HockWelcome to David Hockney’s
Studio! 

There is a long tradition of artists painting self-portraits in their studios, and David Hockney joins this tradition with a self-conscious statement.  

Hockney portrays himself here amidst some of his current works. His studio in the Hollywood Hills near Los Angeles is more like an exhibition room than a studio. There are neither paints nor brushes, and the easels are used for presenting paintings and not for working at. 

STATEMENT

The paintings in the studio form an exhibition of Hockney’s work in the year 2017. The main focus is on the use of reverse central perspective, which he emphasises by using hexagonal canvasses. Some of the motifs even crop up several times in different formats.

The work In the Studio refers to the artist’s development since he turned his back on naturalism in the 1970s. In this work Hockney is not so much showing us his studio as presenting his artistic credo and his ability. He presents the studio as a place for questioning and for precise observation. His main aim is to depict the world as we experience it.  

DIGITAL COLLAGE

At first sight, the work seems like a conventional panorama photograph. This impression is disrupted however by various elements. What we see here is a digital collage made up of 3,000 photographic takes. David Hockney describes this technique as “photographic drawing”. The digital montage has not been carried out perfectly: the edges of objects fray in parts, some points are blurred, indistinct or pixelated. The legs and armrests of the easy chair have orange contours, while the shadows under the stools seem as if they have been drawn digitally.

Here David Hockey has chosen a new medium to continue what he began in the 1980s with his photographic collages and the series Moving Focus. In his search for a method that might enable him to depict the world as we see and experience it, Hockney uses ever new techniques. In his view, the simple photographic representation seems much too one-dimensional for this.

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“Most people feel the world looks like the photograph. I’ve almost always assumed that the photograph is nearly right, but that that little by which it misses makes it miss by a mile. That is what I grope at.”David Hockney, 2011

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