Grand Canyon, Arizona With My Shadow
Grand Canyon, Arizona With My Shadow
Signed Print
David Hockney
£28,000-£40,000
$60,000-$80,000 Value Indicator
$50,000-$70,000 Value Indicator
¥260,000-¥370,000 Value Indicator
€30,000-€45,000 Value Indicator
$290,000-$410,000 Value Indicator
¥5,790,000-¥8,270,000 Value Indicator
$35,000-$50,000 Value Indicator
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96 x 158cm, Edition of 15, Photographic print
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Meaning & Analysis
Grand Canyon, Arizona With My Shadow by David Hockney is a signed photographic print from 1982 that belongs to a series of photo collages termed by the artist as ‘joiners’. In the early 1980s, Hockney’s longstanding interest in the questions of space and perspective finds its expression in the collage form. Drawing inspiration from Paul Cézanne, Robert Delaunay, and the Cubists, Hockney used photography in ‘joiners’ to create complex compositions that challenge conventional ways of looking at artworks.
The view of the canyon spreads in the upper part of the collage, where strips of photographs are pieced together to create an arch. The smooth and curved structure spanning on top contrasts with the bottom of the collage where images, including a snapshot of Hockney’s feet, are arranged irregularly. The artist’s experimentation with perspective in the collage gives the viewer the opportunity to relish the view while also establishing the atmosphere of intimacy. A human figure is seen on the right side, sitting on a brick wall that overviews the Grand Canyon. The work invites the viewer to participate in a personal moment when the grandeur of the landscape is witnessed by another person.
What continued to fascinate Hockney about the Grand Canyon throughout his career was the lack of a focal point in the landscape and, thus, the incomparable spatial experience it offers. Hockney said about the Grand Canyon: ‘It’s not a perspective place, there’s no focus or centre of focus’. Like so many of Hockney’s collages, the images used in Grand Canyon, Arizona With My Shadow invite the viewer’s gaze to move continuously from side to side, up and down. In doing so, they bring the dynamics of looking at the artwork closer to that of experiencing the landscape in real life.