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BEATS OF LOVE

137. Bigger & Closer (Not Smaller & Further Away) by David Hockney 

IT WAS with trepidation that I entered the Aviva studio, thinking I was going to see another three-hour show. The last time I went, I saw Laurie Anderson. As compelling as elements were, it was sprawling in over indulgence and went on far too long.

My relief was palpable as I discovered two of the three hours my missus had allotted to this were actually in the bar. The last time I saw Hockney in Manchester was his photographic exhibition, that left me a little cold. I like to see the artist's hand in the work, so I was even less drawn to this. 

However, despite massive reservations, once I found my perch aloft, I became drawn in and mesmerised. Aviva for once made perfect sense as its vast space became awash with a vibrancy that was both colourful and high spirited. I couldn't help but do a bit of people spotting as my eyes scanned the dominant spaces and saw miniature people sat to attention, laid back with their phones, lent against walls, sprawled out on the floor, and knelt down playfully. It very much had a festival flavour. 

Lightroom's masterstroke is having Hockney's distinctively northern voice making pithy comments to guide us through his work with a sense of great purpose. An advantage he has over Van Gogh for sure is this artistic control. Artist Chanje Kunda noted that this gave the work an African flavour by evoking oratory art traditions perfected by the elders and passed down through generations. It certainly gives the exhibition its sense of reverence that means there's no casual banter, allowing the spoken word and image to coalesce. Prompting us to ask, 'are we seeing the work through Hockney's eyes or our own?' Probably our own. That said, the method helps us reach a better level of understanding his work without scrunching our faces in brain ache. 

What came to life for me were the photographs I had dismissed. Possibly because they lend themselves to reproduction, or most likely because I now know what foregrounding time and perspective means. Hockney is a great entry point for this type of installation, as his use of colour is joyful. His big themes, water, spring, theatre; dramatic. It's a great appetizer, as I'm surely not alone in wanting to view more of his actual work now. There is a great big book near the entrance, a more comprehensive catalogue of his oeuvre with a £4500 price tag. I'm guessing it's still there.   

I have my reservations about future installations working as well, but the three-year effort to realize this blockbuster art show needs commending. A blockbuster  art show in Manchester. That's a first.