Do Remember They Can’t Cancel The Spring

David Hockney is undoubtedly an artist, but above all, he embodies an energy—boundless. This holds true for his emotions, formats, themes, colors (of course), processes—everything is him, and everything suits him.

I am not attached to the chronology of art, artists, or historical movements. None of them. But I am drawn to pure energies. All the more so when they are autonomous, like David Hockney’s. He transforms his into uninhibited, everyday, spontaneous works. Above all, sincere.

When the foundation opened all its rooms to him, the exhibition could only be unmissable. This exceptional presentation of over 400 works from 1955 to 2025 brings together not only a major collection from the artist’s studio and his foundation, but also loans from international, institutional, and private collections. The journey was simple, following the chronology of his work. Without excess. As if the vase were full and it could not have been otherwise; to miss nothing, to follow closely. To find and to lose oneself. All at once. It began with his early years and openly acknowledged inspirations, moving through major works, panel assemblies, open sketchbooks. A shared intimacy without voyeurism, a generosity above all—to show, again and again, the research, the steps, the variations, the dates too, to remind us of time, sometimes short, sometimes much longer.

The exhibition gathers creations made with the most varied techniques—oil and acrylic paintings, ink, pencil, and charcoal drawings, as well as digital works (photographic drawings, computer, iPhone, and iPad art) and video installations. It might seem disjointed or inappropriate. On the contrary, coherence is everywhere. Surprises and visual pleasures are constant. Joyful.