{"id":1073,"date":"2022-06-28T19:43:51","date_gmt":"2022-06-28T17:43:51","guid":{"rendered":"https:\/\/www.hockney2022.ch\/moving-focus\/"},"modified":"2022-08-03T14:16:13","modified_gmt":"2022-08-03T12:16:13","slug":"moving-focus","status":"publish","type":"page","link":"https:\/\/www.hockney2022.ch\/en\/hockney\/moving-focus\/","title":{"rendered":"Moving Focus"},"content":{"rendered":"\n
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Many Perspectives!\n<\/h2>\n\n
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David Hockney\u2019s focus is constantly moving. He is always seeking new possibilities for depicting space, exploring perspectival depiction and probing new media.<\/p>\n <\/div>\n<\/div>\n\n\n

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The group of works called Moving Focus<\/em> has given its name to the exhibition at the Kunstmuseum Luzern. That group often includes interiors. The artist renders furniture, terraces, dining rooms, as if he had been constantly moving his head. And the fact is that we rarely perceive our surroundings in rectangular form with stable horizontals and fixed verticals. For example, when we focus on a screen in front of us and at the same time see a scurrying shadow, the chairs at the other end of the table, a the cat scampering, the standard lamp, we are coming somewhat closer to David Hockney\u2019s way of drawing.<\/p>\n<\/div>\n\n\n\n

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\u201cReverse\u201d Perspective<\/h2>\n\n\n\n
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When Hockney turned away from naturalism in the 1980s, he also radially questioned central perspective. To do this he suddenly turned it around, shifting the vanishing point behind his back, that is to say, behind the viewer as well. For example, the table on which the vase with the amaryllis is standing, is depicted in reverse perspective.<\/p>\n<\/div>\n\n\n\n

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David Hockney, Amaryllis in Vase<\/em>, 1984, Lithographiey on paper, 115.5 \u00d7 83 cm, Tate: Presented by the artist 1993, \u00a9 David Hockney \/ Tyler Graphics Ltd., photo: Richard Schmidt<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

Multiperspectivity<\/h2>\n\n\n\n
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