The art world is once again electrified by the boundless energy of David Hockney, who at 88 years old has opened a spectacular new exhibition in London's Mayfair. These Very, Very Very New Paintings is a triumphant display of colour, wit, and restless imagination, serving as powerful proof that age has done nothing to dim the artist's curiosity or his profound joy in the world.
Inventiveness in Action
At the opening night, Hockney, with a characteristic twinkle in his eye, explained his enduring philosophy: "You have to be inventive, always." Despite using a wheelchair, the Grand Old Master demonstrated his practical ingenuity by describing how he paints the tops of his large canvases. "I turn them on their side. There is always a way. It is what imagination is about," he said.
Dressed in a brand new tweed suit made for the occasion, Hockney was escorted by his great nephew, who also sported a new suit on the artist's orders. "David said he was sick of seeing me in jeans and trainers anymore, so he sent me to the tailor," the nephew and assistant revealed. The centrepiece of the show at Annely Juda's new Mayfair gallery is a dazzling double portrait of the artist and his assistant, a work that pops with colour and zest.
A Clear Vision and Pioneering Technique
There is no sense that this is an old man's work. While the brushstrokes may occasionally show a slight tremor, the paint feels so fresh it seems wet, and the artistic vision is clear and firm. The images are displayed against a dark blue wall, a colour personally chosen by Hockney. This exhibition also marks the most developed stage yet of the artist's pioneering 'reverse perspective' technique.
In this unique approach, objects that appear further away are actually larger, and parallel lines diverge towards the viewer instead of converging. The show features echoes of Bonnard's colourful exuberance and Van Gogh's forthright perspective, with one piece explicitly titled "Vincent's Chair and Gauguin's Chair." This particular work, with its scarlet-matted floor and purple and yellow chair legs, radiates a psychedelic energy and Hockney's unmistakable optimism.
An Enduring Quest for Joy
Before the show, Hockney held court on the pavement, cigarette in hand, undeterred by smoking restrictions. He spoke knowledgeably about perspective and Caravaggio, embodying the role of both professor artist and dandy gadfly. His new portraits of friends, both young and old, are startling in their warmth and directness. Each one conveys a powerful sense of exploration and the gathering of joy from simply looking.
He still wears a badge that reads "end bossiness soon," but his own sense of quest shows no sign of ending. The show also includes The Moon Room, a collection of 2020 iPad works created in his Normandy studio that capture a sense of stillness and delight in colour, showcasing light and luminosity.
This remarkable exhibition will travel on to Paris. With paintings priced in the seven figures and very few for sale, this is a fleeting opportunity to witness the greatness of an ageing master who remains undiminished in zest and zeal. As Hockney himself declared in London, "What else would I want to do? I still find the world beautiful and I still find new ways to appreciate that and capture it. I just have to keep going!" With that, he was off, whizzing around the studio in his electric chair, eyes ablaze and mind whirring.
