Photo-collage by David HockneyPosted: April 13, 2014
Along with the rise of popularity of photography in art, David Hockney started making collages of photographs by using polaroid camera. He began using polaroids arranged symmetrically edge to edge with white borders uncut, and then moved the borderless prints from 35 mm negatives used in a quite different way, with the prints over lapping and sequence of prints therefore able to turn corners, making curving forms and lead the eye in whatever direction the artist wanted (Paul Melia, 1996, p. 108).
He found there’s a limitation in the still photograph. He believed that it doesn’t have any life in time (Hockney 19985: 9-11). The time is the same in one corner of a photograph as in another because the image is made all at once. He argues that a painting is different because it takes time to make and marks an accumulation of decisions over time. (Paul Melia, 1996, p. 108). He wanted the viewer to not be close to the object that’s being presented but to be in the experience. So he began to experiment with technique that can make photograph to have the same feel and experience as a painting by loosing the illusion of distance.
He chose to use collage technique because it allows multiplicity of reference and memory as well as description. He directed the camera on one point, then on each joining point until he marked out and recorded an area of real space. He moved and when he took the shots therefore the passing of time was registered, and a relationship exists between the time taken in creating the shots (rectangle images) and the spaces that these rectangles mark out. Each component of which represents one exposure and a step he took (visible at the bottom collage), the whole is equivalent of the path he walked on. Each square now can now be thought of as a unit of time or as a unit of space. The artist is as if fully in the picture, but not.