JADAR

★★★★☆

As an art enthusiast, I’m always intrigued by new ways of experiencing art and understanding the artist’s perspective. Art galleries provide a nice historical window into the art’s creation but rarely reflect on the artist’s emotions or draw you into their perspectives. David Hockney: Bigger & Closer (Not Smaller & Further Away) offers a surprising solution to this with its immersive dive into Hockney’s imagination as he narrates 60 years of work in a 50-minute projection show (previously shown in London).

In previous reviews, I’ve shared my distaste of projection in theatre with it often being used as a cheap way to change backdrops rather than a creative tool to heighten the experience. Lighthouse are exempt from this criticism with their panoramic display enticing the audience to search every screen as floods of photography flicker into view, little men bob through impressively painted scenery, paintings are created before our eyes, and a myriad of dancing colours flourish across the walls and floor.

I especially loved the parade of tiny lively men dancing around the theatre paintings – in fact I wish this continued as a funny easter-egg in some of the other segments (the one time it did happen, the room erupted into playful giggling).

Unlike Lighthouse’s previous exhibitions, this one is unique in having an artist that’s still alive and able to curate their pieces personally. He provides the audience with accounts of his photography and painting processes while sharing his inspiring views of time, space, nature and theatre in themed segments. His exploration of media is particularly interestin – especially in a show that reinvents how traditional media is seen.

His photography is described as “drawing with a camera” in its inexplicable way of capturing the passage of time, his iPad drawings are such bursts of colour, and his painting techniques are so varied yet evokative. Its breathtaking to see his imagination as each piece comes into fruition whether it be his collaged photography of moving subjects, his youthfully vivacious woodland scenery with swooping butterflies, or his famous swimming series.

While I was rather new to Hockney’s work, the deep-dive into his life made me feel like I’d known him and his style for years. The production is a breath-taking wonder for anyone new to Lighthouse’s experiences, especially since you can choose to roam around, sit in the centre of the action, or even have a balcony view of the show.

While this was an amazing way of experiencing it from different angles, I do still wish there had been some comfy bean bags or spaces to really zen out and kick back as it played – although I suspect there would be a few people that would fall asleep in that environment.

One thing that would benefit the exhibitition would be something more tangible to explore like the Van Gogh experience in London, where the ‘Bedroom in Arles’ was brought to life in a great photo opportunity. Other pieces inspired by the artist to explore or an area for families to recreate their art-style (i.e. colouring for kids) would be interesting. Having this mixture of physical and projected spaces to explore the artists would heighten the experience that touch more.

As previously mentioned, the show is 50 minutes long, and for the majority of it, it captivates the audience with swirls of colour and emotive musical accompaniment by Nico Muhly.

However, I can’t deny that there were several moments that felt like they went on a little longer than necessary or were a little confusing to walk in on. I entered during the theatre section but struggled to comprehend what was happening as the description occurred at the beginning of the segment (catching it later as it cycled back around).

Other moments lingered a little awkwardly or took a tad too long to construct despite Hockney’s accompanying narration – while an adult may be fine with this longer approach, I imagine that many children would lose interest in these moments after previous fast-paced moments that had so much to see on every screen.

Despite the odd pacing issue, this immersive exhibit – designed by 59 Productions and written and directed by Mark Grimmer – truly won me over to the possibilities of projection and technology in art and theatre, creating such a lively and wonder-filled space to explore Hockney’s works. While it needed a little tangibility to heighten the experience, I’m truly astonished by the creativity that went into this project. I ardently hope more art can be explored in similarly inventive ways.