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‘Joiners,’ Hockney, 1982

Natasha Dennerstein

 

He moves through the rooms of mansions in
the Hollywood Hills in the golden, late
afternoon light, seeing all from multiple
_
perspectives, takes it in and breaks it down
– like a Cubist – reassembles it in collaged
prints: drawing with a camera. He doesn’t
_
like the distorted result of the wide-angle lens
so takes multiple Polaroids – snap – from different
angles at different times and Frankensteins
_
them together with glue, creating
a composition with narrative, allowing
the viewer to move through the room
_
or across the pool, approximating
the manner in which we humans see,
but in two dimensions instead of three.

 

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