I must say however, I rekindled my love for Hockney through his photography collages, or as he called them "joiners". Beginning with Polaroids and subsequently moving onto 35mm color prints, Hockney shot an image at slightly different perspectives and different times, and then patching the photos back together to create a composite image. As a study of movement, Hockney was interested in understanding human vision and these subtleties can be seen throughout the work. While some are more straight forward, such as Chair (above), where there are clear delineations between the lines, the only tell tale sign that it is not one image cut into pieces is the apparent shadow movement. There are then pieces such as Pearblossom Highway, 11-18th April, 1986, #2, in which Hockney used 800 color prints to create a massive, more abstracted scene. Layered skies and deserts create its own semblance of an image while producing an insanely structured texture. With a similar saturated color palette, Hockney's observing takes on a new light and is once again playful, stimulating, and ever so unique.
Although this was a small selection of Hockney's ever-increasing experiments, it only further established how Hockney has successfully embraced and evolved with mediums throughout his career. In his eightieth year of life, Hockney continues to astound and remains an international gem.