Focus Moving
Focus Moving
Signed Print
David Hockney
£30,000-£45,000
$60,000-$90,000 Value Indicator
$50,000-$80,000 Value Indicator
¥280,000-¥420,000 Value Indicator
€35,000-€50,000 Value Indicator
$310,000-$470,000 Value Indicator
¥5,760,000-¥8,640,000 Value Indicator
$40,000-$60,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Photographic print
Edition size: 25
Year: 2018
Size: H 115cm x W 90cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Phillips London - United Kingdom | Focus Moving - Signed Print | |||
| June 2021 | Cornette de Saint Cyr Paris - France | Focus Moving - Signed Print | |||
| June 2021 | Cornette de Saint Cyr Brussels - Belgium | Focus Moving - Signed Print |
Meaning & Analysis
Focus Moving is a photographic drawing printed on two sheets of paper by British artist, David Hockney. Created in 2018, this signed artwork was released in an edition size of 25. The work, abstract in its nature, depicts seven robust table trolleys and three wooden stools laid out across an industrial room in an unruly manner. Each trolley is built of three platforms, a yellow one placed on top, blue one at the bottom and red in the middle. Three-dimensional numbers were placed on the stools and the top surface of each trolley. A small scale-drawing is hung on the beige wall, providing a visual representation of the spatial arrangement of the floor. By numbering each object in the room, Hockney establishes a dialogue with the small-scale drawing, making the viewer’s experience of space multilayered and complex.
Like so often in his paintings and prints, Hockney does not follow conventional rules of perspective, seeking a more dynamic way of seeing. The unusually conceived space embodies a sense of motion as the viewer’s gaze travels across the image in an attempt to follow the numbers and connect each object with its small-scale representation. The artist commented in this context: “What does the world really look like? I know it doesn’t look like photographs. The camera sees geometrically, and we must see psychologically. So what does it really look like? I think you have to draw it.”