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Slow Forest

Slow Forest, 1993 by David Hockney is from a series entitled Some New Prints. This print is an original screenprint and lithograph on Arches 88 paper. Signed and dated in the lower right, numbered in the lower left. Published by Gemini G.E.L., Los Angeles, with their blindstamp.

Hockney’s experimentation with photography and other reproductive technologies would go on to significantly influence his work in other media, including paintings and prints. In the 1980s he began producing works that would start as drawings, which he would then print and further manipulate. Occasionally including photocopies of actual objects, he dubbed these works “Home Made Prints.” Hockney’s work with reproductive technologies, which necessitate a simplification of volumes, would also eventually lead him to return to the loosely abstract aesthetic which had characterized his earlier work. This shift is evident in lithographs such as Walking Past Two Chairs (from Moving Focus) and An Image of Gregory, both of which explore the dynamic between objective observation and representation drawn from memory and impressions, much in the same way that Cubism does. “Memory must be part of vision, because everything is now. The past is now,” Hockney once said. “Because each of us has a different memory, this proves to me that objective vision cannot be. When you look at this, you remember that you’ve seen things like it before. Your memory comes in and forms part of it, contradicting the objectivity of vision.”

Medium

Lithograph, Screenprint

Year

1993

Edition

68

Signature

Signed, dated, numbered

Size 25 x 33 (in)
64 x 84 (cm)
Price Price on Request
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Description

Slow Forest, 1993 by David Hockney is from a series entitled Some New Prints. This print is an original screenprint and lithograph on Arches 88 paper. Signed and dated in the lower right, numbered in the lower left. Published by Gemini G.E.L., Los Angeles, with their blindstamp.

Hockney’s experimentation with photography and other reproductive technologies would go on to significantly influence his work in other media, including paintings and prints. In the 1980s he began producing works that would start as drawings, which he would then print and further manipulate. Occasionally including photocopies of actual objects, he dubbed these works “Home Made Prints.” Hockney’s work with reproductive technologies, which necessitate a simplification of volumes, would also eventually lead him to return to the loosely abstract aesthetic which had characterized his earlier work. This shift is evident in lithographs such as Walking Past Two Chairs (from Moving Focus) and An Image of Gregory, both of which explore the dynamic between objective observation and representation drawn from memory and impressions, much in the same way that Cubism does. “Memory must be part of vision, because everything is now. The past is now,” Hockney once said. “Because each of us has a different memory, this proves to me that objective vision cannot be. When you look at this, you remember that you’ve seen things like it before. Your memory comes in and forms part of it, contradicting the objectivity of vision.”

Additional information

Medium

Lithograph, Screenprint

Year

1993

Edition

68

Signature

Signed, dated, numbered

Size 25 x 33 (in)
64 x 84 (cm)
Price Price on Request