David Hockney’s latest exhibition at Serpentine North, titled “A Year in Normandie and Some Other Thoughts about Painting,” marks a significant milestone as the celebrated British artist’s first presentation at the London gallery, featuring a monumental 100-meter frieze alongside a new body of portraits and still lifes that bridge the gap between digital innovation and traditional figurative representation.
A panoramic meditation on time. The centerpiece of the exhibition is undoubtedly A Year in Normandie, a continuous narrative frieze that wraps around the perimeter of the gallery. Inspired by the rhythmic flow of Chinese scroll paintings and the historical scale of the Bayeux Tapestry, the work documents the shifting seasons at Hockney’s French studio. Created primarily on an iPad, the digital medium allows for a swift, intuitive capture of light and atmosphere, echoing the En plein air philosophy of the Impressionists while maintaining the vibrant, saturated palette that has defined Hockney’s career.
The abstraction of the everyday. Beyond the sweeping landscapes, the exhibition unveils five new still lifes and five portraits of the artist’s inner circle. These works are tethered together by a recurring gingham tablecloth, a domestic motif that serves as a geometric grid against which Hockney explores the tension between volume and flatness. By utilizing a frontal composition, he challenges the viewer to look more intently at the subjects—family and carers—elevating the mundane into a profound study of human presence and the “act of seeing.”
Technical fluidity and digital craft. Hockney’s mastery lies in his ability to treat the digital canvas with the same reverence as oil or acrylic. In these new pieces, he blends abstract and figurative modes, asserting that all representation on a flat surface is essentially an abstraction. The textures rendered through his digital tools do not mimic physical paint but rather invent a new visual language—one where bold color fields and playful, pop-inspired touches coexist with the delicate silhouettes of a Normandy spring.
Contextual resonance in the park. The exhibition extends its reach beyond the interior walls, placing a large-scale printed mural in the garden of Serpentine North. This monumental print, depicting a treehouse from the artist’s own garden, creates a dialogue between the curated interior and the organic renewal of Kensington Gardens. This connection encourages visitors to slow down and observe the natural cycles of the surrounding landscape, mirroring the patient observation that Hockney has practiced for over seven decades.
A legacy of visual optimism. At 88, Hockney remains an endlessly inventive force, using his art to “alleviate the sterility of despair.” His work is a reminder that new ways of seeing lead to new ways of feeling. This philosophy is further extended to the coast this spring, as he prepares to transform the Sunley Window at Turner Contemporary in Margate, proving that his fascination with light and perspective remains as expansive as the horizons he paints.
The spatial journey of color. Visiting the Serpentine North during this period offers more than just a viewing of canvases; it provides a choreographed movement through a world of light and memory. The layout transforms the gallery into a continuous loop of seasonal transition, making the experience feel like an immersive voyage through a living sketchbook. For those looking to explore more intersections between creative expression and environmental context, discovering the latest contemporary art perspectives reveals how today’s creators continue to redefine our relationship with the world around us; meanwhile, the journey continues at Margate’s Turner Contemporary with the David Hockney: Sunley Window 2026 installation, open from 1 April to 1 November 2026, Tuesday through Sunday and Bank Holidays, 11am to 5pm.