The colour and space

I will use a lot of gray by reducing the brightness of the background. The appropriated thing will be in high saturated unnatural colors to show the spatial relationship in a flat work, incorporating a slight element of realism, which will show a realistic and interesting effect.

Portrait of an Artist(pool with two figures)1972-acrylic on canvas 84*120

I am deeply influenced by the colors of his works. Indeed, the dark side of his imagination, so strongly evident in his earliest paintings but seemingly abandoned in the bright California sunshine, had surfaced in subtle ways thoughout the 1960s.(p43) Abandoning his black fantasy and reducing the heavy shadows, the work starts to become bright, interesting and eye-catching.

Almost all Cubist pictures are about things close to us. They don't jump off the wall at you. You have to go to them, and look, and look. The camera does not bring anything close to you; it's only more of the same void that we see. (from David Hockney, On Photography: A lecture at the Victoria and Albert Museum, 1983 ( New York and Zurich: André Emmerich Gallery, 1983 ), p. 21.

I like clarity, but I also like ambiguity: you can have both in the same painting, and I think you should. Clarity is visual clarity; ambiguity is both visual and emotional. I have always been attracted to clarity in picture; that is why I love Piero: it seems to me that space is so clear in his paintings. The magic seems to me to be in the space, not in the objects.(p.152) Finding blurred emotions in clear images, rhythmic painting, finding a balance between dissonance and harmony.

Much of the art of our time has sought to proclaim its newness of individuality through grandness of gesture, immensity of scale or the personal quality of its autographic marks. (p11)

An unwillingness to adopt too obvious a means of self-assertion, is characteristic as much of the man as of his work.。（p11）

The smooth thinness of the surface makes it seem as though the image has just ‘arrived’there. 'I try not to overpaint too much because I like the flat surface' (p15 )

An image which has strong three-dimensional connotations. Each suggest an illusion of depth, humorously playing against the Modernist cliché of 'the integrity of the picture plane'. I do feel the space there, as if you could actually drop your brush down into it. (p21)

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