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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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