Here you can see some of the pieces David Hockney has produced, you can also see why it became the research in which I worked from for this project. His work is really clever, you can tell he has thought through exactly what he wanted within the overall shot before actually taking the photographs for the montages. This is a good inspiration for our own projects as to create a really good expressive montage we must know what we are taking. He shows his surroundings really effectively, how the space and objects within them work. But also in a far more interesting and surreal manner as you can see each individual photograph within the composition rather than simply being one large photograph, making it so because it gives the viewer far more of the scene to see and gets them more involved within that scene as you can almost see the workings of the photographers mind before your own eyes within such montages as those above. This all drawing you into the pieces well and truly making you fall into the scene itself and this is the sorts of qualities I want within my own work.
Works with Ken Tyler on a series of technically complex lithographs based on his drawings from the previous autumn. The Moving Focus print series are the culmination of Hockney’s experiments with Cubism. During the summer he lectures on his photographic experimentation at the prestigious Rencontres Internationales de la Photographie in Arles. Michael Deakin invites Hockney to try Quantel Paintbox, a computer program for creating graphics for a BBC programme, Painting with Light. Hockney creates a 41-page essay for French Vogue made up of photocollages, drawings, paintings and his own writings (December 1985–January 1986 issue). On the cover is a small portrait of Celia Birtwell conceived in a late cubist style.
– quoted from about David Hockney from http://www.hockneypictures.com/illust_chronology/illust_chrono_06.php – 1985