David Hockney, CH, RA, (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire, although he also maintains a base in London. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.
David Hockney has also worked with photography, or, more precisely, photocollage. Using varying numbers of small Polaroid snaps or photolab-prints of a single subject Hockney arranged a patchwork to make a composite image. One of his first photomontages was of his mother. Because these photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, which was one of Hockney's major aims—discussing the way human vision works. Some of these pieces are landscapes such as Pearblossom Highway #2, others being portraits, e.g. Kasmin 1982,and My Mother, Bolton Abbey, 1982.
Hockney created these photomontage works mostly between 1970 and 1986. He referred to them as "joiners". He began this style of art by taking Polaroid photographs of one subject and arranging them into a grid layout. The subject would actually move while being photographed so that the piece would show the movements of the subject seen from the photographer's perspective. In later works Hockney changed his technique and moved the camera around the subject instead.
Hockney's creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses to take pictures. He did not like such photographs because they always came out somewhat distorted. He was working on a painting of a living room and terrace in Los Angeles. He took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. Upon looking at the final composition, he realized it created a narrative, as if the viewer was moving through the room. He began to work more and more with photography after this discovery and even stopped painting for a period of time to exclusively pursue this new style of photography. Frustrated with the limitations of photography and its 'one eyed' approach, he later returned to painting.