There is something quietly fitting about encountering David Hockney in Kensington once again. This spring, Andipa Gallery presents a considered exhibition of works spanning the artist’s remarkable career, opening on 12 March to coincide with A Year in Normandy at the Serpentine Gallery just moments away. The pairing feels less like coincidence and more like a gentle alignment—an opportunity to experience Hockney’s evolving vision across spaces that have long held significance in his life.
Andipa’s relationship with Hockney is itself part of this story. Twenty years have passed since the gallery’s landmark 2006 exhibition, which brought together all twelve of Hockney’s celebrated swimming pool works for the first time. It was a moment that offered rare insight into his creative process, and one that firmly established the gallery as a committed steward of his work.
This new presentation shifts the focus towards printmaking, tracing Hockney’s enduring preoccupations through a vibrant and varied selection. Across the exhibition, seasons turn, light shifts, and interior spaces unfold with a sense of intimacy that feels both personal and universal. Works from the My Window series offer quiet glimpses into daily life—fleeting observations rendered with clarity and warmth—while pieces from My Normandy continue his exploration of landscape, perspective, and the passage of time. A lithographic swimming pool scene, unmistakably Hockney, punctuates the exhibition with a familiar brightness, anchoring the show in one of his most iconic motifs.
What emerges is a portrait of an artist in continual motion. Hockney’s draughtsmanship remains precise yet playful; his use of colour bold yet sensitive. Across mediums—from early prints to more recent digital explorations—there is an unmistakable coherence, a singular way of seeing that evolves without ever losing its core identity.
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