down but that is, in fact, what it looks like to stare at them. he don't two views one from standing still and one from walking the distance on oldly enough if i don't walk and look at this way you don't get the classic renaissance window as you're looking under a window you have to walk to get that view. he begins to play with notations of reserve prfkdz which is cubeism you walk about the desk i see it from all sides. if you look at it from this side perhaps that and that (laughter) and if i look at it from this

side you see this and that that is cube itching and navigate translated that to his opinions. this is one he doesn't in the midst of a can lodge he drives down and parks his car he sees this view when he's up her and if there's a view there walked through the whole house christopher has the view and all of those are a single imagine that's trying to be true to life. you have parallel bloom highway to give you some idea of how this is much trueer to life this is the stand photograph it's

this and that's what it is like to stop at a at the scene. you can imagine it take him days he stood on lards and, you know, walks on all over the place you about the result is his argument is something more true to life and some, some because a photographer pushes the life away from you. one of the things that happens in t in the pivot area of the 80s we need to get out of the straitjacket of that one point prospective but in television and billboards evidentially in our society is one point prospective and doesn't alleyway

allow point advantages but at the same time and exactly the same years is the sunday up surge of aids. up here you have one of the polaroid can lodges this is his friend the model mcdonald which is what is known as aids and this is cecilia it has a teacup with a tea bag and she's shaking out the water of the tea bag. it seems the essence of the last years the boy wonder who had

lived this life life in california the swimming pool and the naikd nudes and suddenly comes into this horrific period many of his friends are dying and this very, very dark which we all lived through especially in the city. but it is striking that hockneys response rather than to fall into desolation or to become indifferent is ero to be true to life to take all this misery. one of the things that's interesting he does a series many of you seen the two dogs

standing. i've that often thought of them as a direct consequence of aids this is what you can't draw male nukdz this this position. many, many of the dogs paintings are almly terms of lust they're not pictures of lust but of love. and similarly at that point this is his attempt to break down 0 will prospective which he equalities with death. we find ways of breaking away of the death life grip that keeps us centered in a one point prospective. so the co-op with mortality that

hit him around the age of 40 and wanting to explode out of a one point prospective shows up again and again. it's not just in painting this is around the period when we started to do his amazing opera sets. when you think about aids that was all over the place at that moment. but part of the point you have to make an illness that be seen in different places and so for the. he then as life moves on into the latter 80s or 90s he suffers the deaths from friends of aids but mr. taylor kinds of that an

kraefk cancer and henry's life was taken over by a friend jonathan silver and for about 6 or seven years they were talking and then i dies of pancreatic cancer and david moves back to england. he stays in his town during the summers the town of britain ton and in his mom's 90s he finds her a place there he is driving back and forth to yoblg to see him on his death bed. this is the road on his way to

york. n this is about a 2 minute section of the drive but if i see a video of the drive you'll see as you come into town you see this phone booth and you get down to the bottom and you see this house that way and you see this wall you never see that like this it's a compression. this monument you're on your way out of town all those fields there are imagines like this. for example, if you want to get to this point you see this horizon those horizons are piled on top of each other. this is more the case in this picture which is the final picture of the series this is

the view of the hill. this is coming over the hill and you see the whole vista with. i often saw that as him overwhelming his impervious and the whole work opening up. this is in boston now you can feel your driving and your back wheels 0 or on the backside of the hill and your front wheels on on top of hill. he continues that sort of thing what's fascinating you can see the walk up to his studio in hollywood hills and you can tell that's downhill.

the tree comes over i you can't take this with a camera now we're now coming into latest 90s. and famously he goes to see a show thought it was a retrospective and while he was standing in front of those drawings they were the kind of things that the arresting accuracy would get their drawings down and take them back. david was looking at the this and said i know this line. first of all, how was he able to do this. then he said i know this line i've seen that line and he saw

it in andy warhol. when andy warhol don't this he does it with a slide projection and he's obviously tracing a slide but the tracing is important and david becomes convinced that's what angers him two he must be using a camera that was 13wi7b9d a few years earlier it's a prism and it allows you to see the subject of the drawing but see the paper above at the same time. he's not suggesting that anger was tracing it but let's look at

the anger again. figuring out the eyelids and where the easier and mouth would be. he put it in quick markings and could go back and likewise with the clothes and so forth would go back to eyeballing it. as in this series of the drawings david did at the british museum of the guard. and then david starting saying it wasn't just angry it was cardio vanish go matures been using a less than or something to get the effects. he began to get an opening

california look. he's been looking at this as the great wall it's the first time you'll see this. he asked himself he's an amazing die person he took art but not sophisticated art course but over the years he's got an circle library of art he installed in his studio in santa monica a color photocopyer and start to shingling it to the wall and 19 hundred to that side and when did that opening california look begin to happen? when do you go from the point of

awkwardness it didn't have to have the chemical properties but you get to using less than or something. in the detail you see 13 thirty to fourteen 50 and it happened all of a sudden. you put on its glasses and suddenly you get this initialing up in the north and comes down south north is up and south is down and it was so striking that became convinced that within 10 years fourteen 35 suddenly all over europe it's as if they're able to do it seemingly without

struggle before it was full of awkwardness but this has to do with a particular look as far as i am concerned stays in the event until 178940 and suddenly in 1839 a chemical photograph is invented so up until them whether it was kufrnd meters or obscured but suddenly it can be done on paper in 1940 people are saying paintings are deal because of the camera and suddenly they're looking

expressionism and all the things you can't capture with the camera like cubeism and awkwa awkwardness returned. this is what you see rather than what a camera lets you think you see what you see. going back he begins to work with a man named charles who's a quantum thank you. open mellow scientists he don't the photograph he parenthetically is a motorcyclist clerk and when an

article i wrote an article i got a call i was at the arguing him, i think you should come over and talk to a david. he and i went and talked to david and walked around the wall there were like generals reviewing their troops and david was a saying that carr vegetable was doing it you about i think it goes back here to van in case but i can't understand why van in case could do it without a less than. and await missing a beat charles said they had concave mirrors manufacture no historian knows

this when it's dark inside our bathroom you can take the mirror upside down it doesn't have to be a good mirror. the kitchen sieve r will have it. it's basically that one there expect the reserve of it would be a concave mirror and they were showing up in 1840. charles is looking around and saying we need a picture we need a picture and it turns out this is described in detail that if you look carefully as what's george here this is in focus and out of focus again that would

have to have been using a less than of a particular dimension and by the time he's finished he called that in science a proof. david started to do the same thing. he had people sit outside and has a concave mirror and doesn't say a picture upside down. this seemed like it was all a piece of this battle he was having against the death advice of one point prospective. he was trying to figure out where it came in the article and by the way, this was all miss

characterized not all artists traditions every line he was saying this was a taste for the optical you wanted to do paintings that that was privileged as what reality looked like. and it will last for 4 hundred years and it will be - and there's absolutely masterpieces bus it's the - he begins doing watercolors where you can't go back and correct. you can't do optical watercolors your hands immediately rernlz and you have to be focused and you can't go back and correct and he's trying to find ways to

do it optical. he wasn't doing the drawings the way he thought but he's trying to be out in nature figuring out how to have more vandals. first, as those watercolors and generally speaking he leaves los angeles and goes to brifrltd ton his mother had died and the bed-and-breakfast he took over and established a studio and had room for visitor and began portraying the fields of his summers. this was where he used to work when he was a young man 18-years old. it's the fields he's scattered

his mothers ashes in. he maintenance a home in california but he's back to first things and back to a painting. over and over again he's trying to find ways for advantages. it's a series of watercolors and goes to the same place and one summer he does a series of water paintings. this is 6 o'clock no longer and this is 10 in the morning. he wanted to do bigger pictures and almost always when he has a body of work it's please a particular master at the

constable made of english landscapes. which we couldn't have been making in english landscapes. if you think that about you is a canvas it will blow away but to do them in the landscape and he develops an idea of having multiple can have you seen and a working on sections of them and taking it back to the studio and come back and a so forth and eventually getting things to look like this. there's an area of 2 miles which after the royal academy show as hockney national park people coming out to the park who believe it's out of the way. one of the things that's would you have been new england it's wonderful there are particular

places for example, this place in the wood is three of those paths coming together and the road the highway is this highway here gold gate and by the way, when we see the images that will be in a car coming this way but here's a place in the effort he don't the same thing in the same place some of upstairs. and you can really see how - how he has by this point if you compare this and this for example. this exactly is the advice of one point prospective. this is something you can go in

this direction and that direction it's fascinating about the passage of time earlier in the day and the shadows are changing. this has incredible it's been opened up and this is over and over again, there is this feeling the mortality. there's a remarkable certificate pictures when the people are 39 out the forest and they pile "those logs on the side of the road and david doesn't say those charge cool drawings on paid-up wood on wood.

to my mind an expired drawing of what it looks like when they've been carted away. this is like life and dedicate and david himself asked for a particular tree the total thank you. and a will go on to do a whole series of the tomato thank you. the trees it is the xhrld a it portrait. at the same time once again he's about to take off on a side tangent a friend of his like me he is playing with my phone and i explained to him he has to give it back my life is on that thing (laughter)

quickly he learners how to draw on an iphone. he's also walking around with sketchbooks. he'd prepared e prepare a little watercolor that was done on sketchbooks but he can do it open the iphone. there's a prachl called brushes it gives us two different things you press one button and you get it to be darker or lighter. then you press another button you want it thick or thin. i have one here. don't turn on your iphones on the pad i can draw.

the interesting thing david draws with his thumb. for example, i'm photo dpravk him as he's photo graphing me. he'll be later on using his shoulder. you get those rather amazing drawings. one of the things that's interesting he spend a lot of time thinking about how to chief an effect of glass or crystal or a sunset and heel go and work on that. he wanted to achieve those effects. he's exfoliated for the first

time in his life he can draw a sunrise. he has done sun sets but you have to turn on a light but he can have the room dark and draw with his church and a those are sunrises and he moves to the ipad going back to some of the places he's been before and essentially going to u very many. whatever the indignation he has it before everyone else and he's trying to take an illness forgiving the ipad and blow it

up to that size right there and in the gallery he's made huge strides. spectacle he is doing something he wanted to do at the polaroid can lodges he wanted to do this with film. but in those days cameras were two big and the technology the digital technology was hopeless and impossible but in the last few years bits become possible and he puts 9 cameras on the side of his car he didn't want them on on top of each other. this is to emphasize this is 9 different prospective. this is 9 point prospective staved a one poiro