Published by LLB Auction — Luxembourg's Contemporary Art Auction House | Sunday, 5 April 2026

At the heart of London’s art scene, a 90-metre-long painting stands as a testament to resilience and creativity during trying times.

This is not a painting in the traditional sense — it is not oil on canvas, nor is it completed brushstroke by brushstroke in a studio. Rather, it is a frieze composed of over one hundred iPad drawings, seamlessly assembled into a continuous image, exhibited within the graceful curves of the Serpentine North Gallery, located in Kensington Gardens. Titled A Year in Normandie, this extraordinary work was created by David Hockney during the pandemic, a period that compelled him to stop and truly observe the beauty of the world.

Hockney directed his gaze at orchards, winding lanes, and the expansive sky above his French garden as it transitioned through the seasons — from winter's grey to spring's blossom, to the rich vibrancy of summer, and finally, to the warm tones of autumn. Each morning, he diligently drew on his iPad, whether standing outside or seated at a window, attentively watching the changing light. His subjects varied: trees discovered in fog and frost, in rain and blooming exuberance, meticulously captured in their evolving states.

The outcome is one of the most exuberant artworks crafted in recent history, accessible to all, on view until 23 August 2026.

Despite being 88 years old, David Hockney remains a vibrant force, with no signs of slowing down.

The Man Who Never Stopped Looking

Since the 1960s, Hockney has held a prominent position as one of the world’s most celebrated artists. His iconic swimming pools — those bright Californian canvases where sunlight reflects off water in magnificent cobalt and turquoise hues — have become synonymous with modern art. His portraits, landscapes, theatrical designs, and photographs are unmistakably his, defined by a unique vision of the world that resonates deeply with viewers.

Yet, what truly sets Hockney apart extends beyond the artistry itself; it lies in the philosophy that underpins it.

Driven by an extraordinary obsession, Hockney contemplates one fundamental question: How do we see? He explores not merely what we behold — a world abundant with objects — but delves into the intricate mechanics of the act of viewing. How a flat surface can evoke depth, how the eye navigates an image so differently compared to a camera’s capture, and how time is encapsulated within a painting — revealing not a mere snapshot but a rich accumulation of experience.

Throughout his illustrious career, he has employed an array of tools — Polaroid cameras, photocopiers, fax machines, iPhones, and iPads. These selections are not whims of modernity but strategic choices, as each new instrument reveals a fresh perspective on looking — an endeavor central to Hockney's artistic mission.

“New ways of seeing mean new ways of feeling,” he recently articulated during the unveiling of the Serpentine exhibition. “I do believe that painting can change the world.”

A Year in Normandie: Painting as an Act of Faith

When the pandemic struck in 2020, Hockney found himself in his Normandy residence at the age of 82. While many his age might have hesitated, waiting for life to resume, Hockney persevered, allowing his creativity to flourish.

“I began drawing the winter trees on a new iPad,” he reflects. “Then the virus struck. I continued drawing the winter trees as they burst into blossom, and amidst the chaos, many told me my drawings provided a welcome respite.”

This encapsulates the essence of what artists do: they continue looking, persist in creation. This is not born of indifference to the world's suffering but is instead an assertion that the act of creation — closely attending to light, seasons, and the subtle beauty found in an apple tree's bloom — embodies a profound faith. It asserts that the world is worthy of examination, that beauty persists, and that hope for tomorrow remains.

The 90-metre frieze at the Serpentine chronicles that faith. The experience of slowly moving through the dimly lit gallery, witnessing the transition from winter to spring, aligns with Hockney’s own seasonal perceptions. This immersive journey through his artwork offers one of the most remarkably poignant art experiences available in London today — and it is accessible at no cost.

What Hockney Teaches Us About Collecting

Hockney frequently shares insights on living closely with art — the experience of adorning one’s home with works that invite repeated viewing, yielding new discoveries with each encounter.

This essential truth often gets obscured amidst market analyses, auction reports, and financial considerations. The motive for art collection is not merely the pursuit of asset appreciation or economic security; it is a desire to engage with pieces that reward attention, offering greater depth on the hundredth look than the first.

Hockney's own cherished collection — of pieces he has retained throughout his life — includes drawings by Van Gogh, reproductions of Vermeer, and prints by Picasso. These works are not coveted for their market value but for the enduring inspiration and engagement they provide.

Serious collectors grasp this philosophy. The most fulfilling collections emerge not from a pursuit of market trends or auction outcomes but from individuals who trust their own sensibilities. They are those who encounter art that captivates them — evoking thoughtfulness and emotion — and respond decisively to that impulse.

The Artists Who Carry This Forward

Hockney exemplifies a long-standing, luminous tradition of artists who celebrate the world's beauty and endeavor to convey that splendor through their work — in all its specific richness.

This tradition remains vibrant today, manifesting within the studios of the artists affiliated with LLB Auction. Each artist approaches their canvas with a dedication reminiscent of Hockney’s morning sketches in Normandy.

Antonia Beauvoir crafts intriguing figures, oscillating between visibility and concealment — obscured yet present. Her canvases resonate with the depth of great portraiture, evoking a sense of presence even when faces are absent. Much like Hockney’s portraits of family and caregivers at the Serpentine, her work delves into the intimacy forged between artist and subject, celebrated through attentive observation.

Yun Sé ingeniously manipulates light and space, reminiscent of the tranquil moments found in Hockney’s practice — particularly his landscapes and early morning studies that capture the essence of ephemeral hours. His paintings embody a hushed stillness born from thoughtful observation.

Ansou Niabaly emanates an energetic passion reflective of Hockney's formative years in Bradford. His art pulses with urgency and an unmistakable confidence, channeling the essence of a young artist poised to relay a vital message.

Richard Prince (1994) engages the saturated visual landscape of contemporary life, mirroring Hockney’s inquisitive explorations of visual perception, applied to the context of 21st-century media and culture.

Léa Véris and Eva Santer each cultivate their methods through deliberate attention — to materials, surfaces, and the inherent meaning within each mark. The legacy that Hockney embodies transcends ambition; it also encompasses the patient, daily diligence required to create art deserving of sustained viewing.

Go to the Serpentine. Then Come Back and Look at Your Walls.

Should you find yourself in London before 23 August, I urge you to visit the Serpentine North Gallery. Stroll along the path through Kensington Gardens, where an extension of A Year in Normandie graces the garden — digital trees blooming on the gallery's exterior walls. As you navigate the frieze, immerse yourself in the seasonal metamorphosis depicted. Consider the image of an 88-year-old man in a French garden at dawn, attentively sketching the light.

Upon your return, take stock of the artworks that adorn your own walls.

If they feel bare, or if their beauty has faded, take that insight to heart. The art world is actively rejuvenating and engaging in critical conversations — as demonstrated by the vibrant art scene across London, Hong Kong, and Mumbai in March 2026. It is a movement increasingly aligned with Hockney’s philosophy: genuine observation, authentic conviction, and an unwavering commitment to quality over mere noise.

LLB Auction strives to make this commitment accessible. We cater not just to high-end collectors but to those who trust their vision, believe in the artists they encounter, and wish to live — as Hockney always has — enveloped in works that reciprocate their attention with profound worth.

As Hockney succinctly stated, “I have always believed that art should be a deep pleasure.”

This is the true essence of collecting and the most compelling motivation to begin.

LLB Auction is a Luxembourg-based online auction house specializing in contemporary art priced between €5,000 and €50,000. Buyer's premium: 20%. Shipping via DHL with full insurance: €150–€450 within Europe. Browse current lots at llb-auction.com.

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