Ruoqi Wang

This paper focuses on David Hockney’s 1986 photographic collage work Pearblossom Highway, exploring how this piece serves as a pivotal practice in transcending Western artistic traditions and integrating Eastern and Western aesthetics through an in-depth analysis of its medium, viewing perspectives, and thematic expression. The collage technique’s subversion of traditional single-point perspective, early experimentation with proto-digital media, and metaphorical representation of highway landscapes collectively construct Hockney’s philosophy of “seeing as creation,” offering a paradigm for the coexistence of technological intervention and humanistic narrative in contemporary art.

David Hockney; Pearblossom Highway; photographic collage

[1] Cong Wenjia. “ The Possibility of Painting in the Context of Images:Insights from David Hockney. ” Art Observation,2024,(12):73–76. [2] Zou Qingdie,Su Yuhong. “ Serenity and Elegance:A Study of David Hockney ’ s A Bigger Splash. ” Beauty&Times,2024,(09):96–98. [3] Shi Jianbo.David Hockney’s Way of Seeing.Lu Xun Academy of Fine Arts,2023. [4] Hockney,David.My Way of Seeing.Translated by Wan Muchun,Zhang Jun,and Lan Youli.Zhejiang People’s Fine Arts Publishing House,2017,p.124.

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