David Hockney’s Photo Collages: A Glimpse Into Their Original Brilliance

April 01, 2025

David Hockney’s Photo Collages: A Glimpse Into Their Original Brilliance

David Hockney initially regarded photography with skepticism, viewing it as limited due to its static nature and inability to convey depth. His outlook shifted dramatically, however, after curator Alain Sayag persuaded him to exhibit in Paris, sparking a newfound appreciation for the medium.

The Scrabble Game, Jan. 1st 1983 © David Hockney 1983

Hockney's photographic practice was profoundly shaped by Cubist principles. Rejecting the single-perspective view of traditional photography, he embraced a fragmented, multi-angle approach. By breaking scenes into components and reassembling them, he infused his work with movement and dimensionality, breathing new life into Cubism through a contemporary photographic lens.

Gregory and Shinro, Nara Japan © David Hockney 1983

This led to the development of his distinctive Polaroid collages—what he later called “joiners.” These pieces weren’t just expressive artworks but also practical tools, acting as spatial blueprints that informed the composition of his paintings. Through this dual-purpose approach, Hockney bridged the gap between photography and painting.

Luncheon At The British Embassy, Tokyo, February 16th 1983 © David Hockney 1982

His joiners are marked by their use of subdued palettes—cool greys and blues dominate—evoking an emotional undertone. Hockney also employed negative space strategically, allowing areas of flat color to contribute as much to the narrative as the imagery itself. In works like Anne and David, his arrangement of photographs down a central axis mirrors the balance and calm of the winter setting, using color and form to enhance rather than distract.

Ian Washing His Hair, London January 1983 © David Hockney 1983

As Hockney once said, “The camera can’t see space. It sees surfaces. People see space, which is much more interesting.” His joiners aim to capture that human experience of space—layered, shifting, and alive. These composites of overlapping photographs offer a way to express depth and movement absent from traditional photography. Take Nude, 17th June for instance. Though depicting a still figure, the collage suggests a quiet motion, a lived moment. Through layering and perspective, Hockney transforms static imagery into something closer to how we perceive life—dynamic and unfolding.

Nude, 17th June © David Hockney 1984

Interestingly, the joiner technique emerged by accident. While working on a piece in Los Angeles in the 1960s, he unintentionally assembled Polaroids in a way that conveyed spatial movement. This spontaneous discovery led him to pivot temporarily from painting to photographic experimentation.

Mother, December '82 Los Angeles © David Hockney 1982

At the heart of Hockney’s collages are deeply personal themes. His mother frequently appears, reflecting her importance across his body of work. Familiar faces, including director Billy Wilder, populate the pieces, emphasizing the role of personal relationships in his art.

My Mother, Bolton Abbey, Yorkshire, Nov 1982 © David Hockney 1982

David Hockney’s photo collages—also known as “joiners”—stand as some of the most innovative and visually arresting works of the late 20th century. Created primarily in the early 1980s, these compositions were constructed from dozens, sometimes hundreds, of individual Polaroid or 35mm prints arranged into dynamic, fragmented scenes. Hockney’s joiners challenged traditional notions of photography, time, and perspective, offering a Cubist-inspired way of seeing the world that was wholly his own.

An Evening At Christophers, Santa Monica, December 1982 © David Hockney 1982

But time has not been kind to these iconic works.

Due to the inherent instability of the photographic materials used—especially the Polaroid and early color prints—many of Hockney’s photo collages have faded significantly. Colors have dulled, contrasts have diminished, and the vibrant energy that once defined them is now often only partially visible in the surviving pieces.

Original 35mm slides captured shortly after each work was completed preserve the color, light, and composition as Hockney originally intended. They serve as rare visual records, offering insight not just into the final artworks, but into the creative process and aesthetic decisions behind them.

Shown here is a curated selection of original 35mm slides, taken during the years each collage was created, showcasing the works in their original condition—before the effects of time took their toll. These slides are not just archival images; they are windows into Hockney’s true vision, and essential for understanding the full impact of his joiner experiments.

As interest in Hockney’s broader photographic practice continues to grow, these slides serve as both historical evidence and artistic treasures in their own right.