In what way is identity explored in the work of David Hockney and Marcelo Monreal?

Introduction:

“People don’t often show who they really are. Instead, they keep parts of their real selves hidden.” [1]

This quote by Marcelo Monreal closely links to my personal study where I want to delve into the topic of identity; more specifically the complex and confusing relationship people often have regarding it. This topic especially stood out to me as I believe identity is very prominent thing people struggle with in my age group. Whether that be teenagers trying to conceal their true identity in order to fit societal expectations or just trying to discover who they really are, identity is something that makes us unique but also makes us vulnerable, therefore leading to people to put up a facade to hide who they truly are to the world. For example, teenagers tend to hide their emotions or alter their physical appearance (eg by wearing makeup) as a way to protect themselves from people’s judgements and rejections that they feel they will receive if they are their whole, natural self. I found this idea of concealment and the desire to conform very interesting and so I have decided to explore it further in my project. An artist whose art I believe links to exploring identity is David Hockney’s body of work called ‘joiners’ which is a combination of images taken of a singular person from different angles to create a collage. In this project, his work typically explores the theme from a perspective that focuses on people’s tendency to conceal their innermost emotions and identity. He does this through distressing and distorting classical portraiture through the idealistic, creating fragmented images of people which represents their sense of self being not whole and how identity is something fluid; it is constantly adapting and changing to fit one’s environment. In contrast, I also want to look at identity from a different, more positive perspective. I will do this by illustrating the beauty and strength of embracing your identity despite the potential risk of being rejected or judged towards the end of my project. I have chosen to do this as I want to portray the journey of self discovery, which often consists of a lot of obstacles that need to be overcome and will hopefully inspire and reassure people that they can take off these facades that hide them from the world and be unapologetically themselves as it’s liberating knowing those around you love you for you and not for the fake version of yourself you have created in order to please them. I think Marcelo Monreal depicts this message clearly in his ‘Flower Face’ series as he covers themes of personal growth and acceptance through combining flowers with human faces to create beautiful, empowering images. Flowers are known to grow, wither and regenerate. This conveys to me the idea of our identity being similar to a flower; constantly changing and blossoming as we grow and transform. His work puts an emphasis on the importance of identity and embracing who we are as like the flowers seen in his images, they are all different in some way, just like we are and it is that which makes us unique and special. I hope to explore these opposing outlooks on identity further throughout my project by taking inspiration from both David Hockney and Marcelo Monreal’s work where I will compare, analyse and explore the artists differing ways of expressing what identity means to them through their art.

Historical context

The origin of photomontage began with early collage experiments by Pablo Picasso in the early 20th century. At that time Picasso was developing a new painting style coined Cubism. His experimental work in this style of art had a profound influence on what is now known as photomontage. Cubism and photomontage are closely linked to each other as they both challenge traditional ways of representing reality by fragmenting and reassembling images in an abstract form. David Hockney described cubism as a ‘different way of looking, and it’s about reality and perception’. [2] Picasso’s work surrounding cubism involved him deconstructing his subjects into abstract, geometric shapes taken from multiple perspectives then merging them together to create a completely new, alternative image and meaning. Many artists like Picasso used the cubist technique as a way to depict a new, alternative reality and to try and push the limits of artistic expression. They wanted to move beyond the representational way of displaying art and to explore it in a more unique and different way. This can be seen when Picasso said ‘it’s not what the eye sees, it’s what the mind sees’.  [3] This refers to the idea that art should be used as a way to show how the mind tries to process and interpret the world instead of just photographing the world as it is; which is a core concept of cubism. The key theme of the cubism is centred around not representing an object from a single, fixed angle but showing an object’s essence by breaking it into multiple parts then displaying the different angles together into a final, cohesive but unique piece of art. This is very similar to photomontage which is an art form where multiple photographs are cut, rearranged, and reassembled to create new meanings and perspectives. Both art styles focus on embracing fragmentation and abstraction to create new perspectives instead of simply capturing what everyone already see’s normally. 

This image by Pablo Picasso clearly demonstrates some of the key themes seen in cubism as he fragments the three musicians into different geometric shapes. Whilst they are still recognisable, they are not depicted in a conventional or realistic way as parts of their bodies and instruments are cut, rearranged and overlapped with one another to create a fragmented image (as seen in David Hockney’s work too). 

The Dadaism movement followed shortly after Cubism. Cubism emerged around 1907-1914 and Dadaism emerged around 1916 after the outbreak of World War I. It was created as a reaction against the war, societal values, and traditional art forms at the time. The main concept of cubism was to break away from the traditional forms of perspective and realism by fragmenting objects and having multiple viewpoints present in one image in order to depict the complexity of reality whereas Dadaism was used as a way to reject all pre established norms of art and to embrace absurdity/randomness. Dadaists often mixed unrelated images/ objects to create new, nonsensical narratives. Dadaism made people question the meaning of art itself. Dadaism involved using techniques that broke away from conventional photographic norms, for example: photomontage, collage, manipulation, and absurd subject matter. Photographers would intentionally distort and fragment images to create confusing juxtapositions and used photography as a tool to challenge society’s expectations of art and beauty. One of the most influential figures in Dada photography was Hannah Höch who was a German Dada artist. Her photomontages critiqued societal norms, gender roles, and the politics of her time. She desired to challenge the traditional representations of women at the time (clearly seen when she stated that she wished to ‘blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.’) [4] and the patriarchal structures that influenced art and society. She often described her work as ‘a way to confront the contradictions and absurdities of the world’. [5] Hannah Höch popularised the photomontage technique as she cut and joined photographs from magazines, newspapers and other printed materials to create surreal and provocative images. 

One of her most famous works is Cut with the Dada Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany (1919). This was a political piece that was used to critique and mock the political chaos of post war Germany and the objectification of women. She used her work to try change the traditional representations of femininity. She did this by dissembling images of women with images of political and military figures in a way that challenges the previously male dominated area of politics (which was known for excluding women). This successfully conveyed the message that we should question these traditional gender roles that are so normalised in society. This links to Dadaism as she managed to create a chaotic, fragmented vision of post war Germany through her distorting and assembling of different genders. Overall, Cubism and Dadaism were crucial elements in the development of photomontage which was began to take shape in the 1920s, as they both rejected traditional ideologies, embraced absurdity, and broke the boundaries between art and reality (which are similar concepts present in photomontage). For example, collages that were produced as a part of Dadaism expanded to the use of photographs and directly lead to the development of photomontage. The photomontage technique continues to grow and evolve as time progresses.

David Hockney

David Hockney explores identity and its complexity throughout his series of ‘joiner’ photographs. These images incorporate a technique by which he cuts up, rearranges and  assembles a variety of different photographs to create a single, composite image. The message being conveyed in these images is to encourage the people who are viewing his work to embrace these fragmented representations of people and find comfort in the chaotic, non linear journey of understanding identity. Hockney actively engages with the idea that identity is not a static, singular image but a dynamic, multifaceted process. His fragmented approach to exploring identity in his work mirrors the way identity can be shaped and changed by a variety of factors. For example: your personal experiences, interactions with others, memories, and relationship with time all impact who you are as a person now and who you will be in the future. This evidently demonstrates that identity is a long, ever changing concept that one may never be able to grasp fully. Additionally, not only do our perceptions of ourselves change but of others too. By David Hockney breaking his subjects into smaller, disjointed parts, he illustrates the idea that identity cannot be captured in a single snapshot. This disorder in his work reflects how our own images of ourselves are constantly constructed and reconstructed, depending on our context and perspective. The joiners and often require the viewer to piece together the different perspectives in the image in order to begin to understand that person’s identity. David Hockney said he’d ‘love to make a true representation of space, as we know it, since it’s impossible to photograph it’, [6] showing that even with these different viewpoints being compiled into one image, our understanding of who that person is may still be incomplete and ever changing. This highlights how truly versatile and unpredictable identity is. 

His joiners series also explores identity through the use of time. David Hockney was very interested in the concept of time in images as seen in an interview where he said ‘When is the present? When did the past end and the present occur, and when does the future start? Ordinary photography has one way of seeing only, which is fixed, as if there is kind of an objective reality, which simply cannot be.’ [7] In many of his pieces, he combines a variety of photographs, all of which were taken over a period of days, weeks, or even months. This allows him to explore the idea of time passing in his images and show the evolution of his subjects within that time period. This can specifically be seen in his photocollages of landscapes in which there’s often a shift in light, weather and  perspective which he then joins together creating a single composite image. This conveys to me the idea that identity isn’t about simply seeing a person for what they are at a specific moment in time but how that person is constantly changing as time progresses alongside with their identity, interests and personality. This concept of time passing in his images makes people reflect and consider how people’s surroundings and experiences alter over time which ultimately shapes that person’s identity simultaneously. David Hockney often described photography as ‘a way of visualising time’. [8].

During the time of his joiner series being created, photography was undergoing a rapid transformation as more technologies became accessible to people eg Polaroid cameras. He stated ‘I think we are moving into a more electronic age, there’s no doubt about it. In a way, storing information digitally is storing abstractions’. [9] He then incorporated this new sense of modernism into his work by joining multiple Polaroid pictures taken from different viewpoints together to create a new, abstract image. David Hockney’s work was influenced by his own life, experiences and relationships. He would often use self portraits and photographs of his loved ones in his joiner images. By doing this, I believe he was trying to reflect the fragmented and layered ways in which he experiences his own identity. As he presents himself from several different perspectives in the same image, he is trying to prevent a single narrative/ fixed representation of himself from being formed. His work actively engages with the idea that identity is fluid and shaped by many external factors. His work highlights the importance of different viewpoints to be able to understand people. He was also inspired by Cubism and the works of Picasso and Braque (as seen when he said ‘I’m interested in all the great traditions, and I admire Salvador Dali and Picasso hugely’) [10]. His joiners series took an innovative approach on their work (which involved them breaking up their subject matter into different fragmented perspective’s) by capturing and merging multiple angles and viewpoints in order to depict the subject in a more holistic manner. Overall, David Hockney’s work has inspired me to take a variety images of people from different perspectives then join them together to create a distorted individual, highlighting the idea of the complexities surrounding identity as seen in his work. 

Marcelo Monreal

In contrast, Marcelo Monreal explores the theme of identity from an alternative, more positive perspective throughout his body of work called ‘Inside outside’. These images consist of him manipulating the faces of famous celebrities, actresses, actors and models by creating cracks and holes into their face then filling them up with a variety of botanical flower images in order to create surreal portraits. These surreal images aim to explore the duality of human identity and highlight the idea that identity isn’t just about appearance, but also about deeper, often unseen layers. Marcelo Monreal believed that “to create is to uncover a new part of oneself, hidden in the layers of perception.” [11] This is reflected in his work as he delves into the internal factors of people as a way to understand what makes them who they are. I interpret his work as being a commentary on the complexity of how we perceive ourselves and how we are perceived by others. The contrast displayed between the interior (for example: internal thoughts, emotions and psychological states) and exterior (for example: physical appearance and societal roles) reflects the multifaceted nature of identity. His approach often challenges those who look at his work to question the surface level layers of identity and instead prompts them to consider the deeper, more hidden factors that shape who we are. Marcelo Monreal’s work focuses more on embracing identity in its fullest complexity as he doesn’t depict identity in a fixed/singular way but rather as something that has many layers, fluid and is ever changing. Monreal engages with the idea that embracing one’s identity often involves acknowledging and integrating all aspects of oneself. This includes both the visible and the hidden, the natural and the constructed. His work encourages people to look beyond the surface of appearances and open their eyes to see what lies beneath each person which accumulates to form who they are. For example, people’s own history, emotions and potential inner struggles is what ultimately makes them unique. I think Marcelo Monreal’s work encourages people to accept all the hidden, complex parts of themselves and to not be ashamed of those internal differences they may have to other people as by embracing your differences you begin to flourish.  Marcelo Monreal often felt like people don’t tell us who they really are, saying: ‘They keep all of their real selves hidden from view’ in an interview. [12] This is what inspired him to start the project where he would be able to reveal the rare moments in which we see the beauty that’s behind these celebrities appearances. Additionally, the bright colours present in the flowers juxtapose with the soft, natural colours of the human facial features, showing how valuable and extraordinary you become as you begin to not worry about what other people think of you and accept yourself for who you are. 

Marcelo Monreal’s mum’s death had a major influence on his project and was what ultimately started it. This concept of adding flowers to people’s face began after he went to his mothers funeral to which he then went to his childhood home in Sāo Paulo and noticed that his mother’s once flourishing, vibrant garden was non existent. This caused him to recall all the positive memories he had in that garden with his brothers. One day, he asked his mother what people are made of to which she responded “flowers, son!”. This memory sparked a passion in him to try to recreate and express that fond memory he had of his mother through art as a way to remember her. Overall, this series of images has inspired me in my own project on identity. I believe this positive outlook regarding the idea of embracing identity is a perfect way to sum up my project which previously focused on identifying and highlighting how people try to conceal themselves from the world, leading to them losing a part of themselves as they conform to societal norms. My images which will closely replicate the work of Marcelo Monreal. They will emphasise the notion of the beauty one radiates when they appreciate and value all the internal factors that make them who they are. 

Conclusion

In conclusion, David Hockney and Marcelo Monreal explore identity in similar but conflicting ways through their series called ‘joiners’ and ‘inside outside’. While their approaches may differ in technique, they both use their work to dissect and convey the fluid nature of identity and invite their viewers to reflect on the complexity and layers that make up a person’s sense of self. David Hockney used photo collages in order to convey the fragmentation associated around identity. He used multiple photographs of a subject (taken from various angles and times) then joined the images together to create a fragmented but still cohesive final image. Hockney’s unique use of collage highlights the way identity is not fixed but is made up of many layers, perspectives, and moments which come together to form who that person is. Hockney said he ‘wanted to show the world as we see it, not as we know it should be. I want to suggest a different kind of space, a space that includes time, and also gives you a feeling of the movement of the human eye.’ [13] showing that he believes identity isn’t a singular snapshot but a continuous process, formed through multiple views and experiences. Hockney suggests that identity isn’t a static portrait but a dynamic and evolving construct which is influenced by various viewpoints and experiences. On the other hand, Marcelo Monreal uses digital manipulation to merge human faces with flowers. This creates a surreal blend of the inner and outer worlds. His work highlights a deep connection between an individual’s internal world (for example: their thoughts and emotions) and the external world (for example: society, nature, and environment). He clearly illustrates how our identities are shaped by our inner experiences and external influences. Monreal stated ‘What we have inside us is much more powerful than what we show outside. The inside is connected to nature, to everything around us. The outside is just a mask. It’s only the surface.’ [14] This quote sums up the key theme behind his work as he delves into the idea that identity is far more than what is immediately visible and by embracing these internal and external factors simultaneously, something beautiful can be formed. He believes the external self (the mask we show to the world) isn’t a full representation of who we truly are but by intertwining the inner self with nature (as seen in his work), he demonstrates how rare and potentially beautiful it is when one fully embraces every part of themselves even the parts you may deem as weird or cause you to be judged by society. In contrast to Hockney’s fragmented approach, Monreal’s work merges together two completely opposite worlds seamlessly, creating a visual harmony that reflects the integrated nature of identity.

One similarity between the artists’ way of exploring identity is they both look at identity as something that’s multifaceted and ever changing. Hockney’s fragmented compositions and Monreal’s hybrid imagery both convey the idea that identity cant be understood by a singular, fixed concept. It is crucial that we understand identity is shaped by a variety of internal and external factors that interact with each other. Additionally, they both explore the concept of time and change in relation to identity. Hockney’s work captures the passage of time through his use of multiple perspectives within a single image whereas Monreal’s combination of human forms with flowers suggests there’s a deeper, cyclical connection between humans and the world around them. Both artists imply that identity isn’t linear but a fluid thing that is constantly changing due to the different experiences one may undergo. However, David Hockney and Marcelo Monreal differ slightly regarding the methods and mediums they use. For example,  Hockney’s approach is rooted in traditional photography in which it involving him using physical photographs, cutting them and then reassembling them to create a new meaning and image. His work emphasises the process of constructing an image. In contrast, Monreal’s work is digital (instead of the more physical approach Hockney’s joiners take) as he  seamlessly blends a variety of flowers with a human face. His use of digital manipulations allow him to create ethereal images. This majorly contrasts with Hockney’s work which is more grounded. Furthermore, Hockney’s joiners series focuses on capturing multiple perspectives of a singular subject whereas Monreal’s work emphasises the merging of inner and outer worlds. Hockney often deconstructs and dissects identity throughout his work, but in Monreal’s work, he seeks to integrate the various aspects of self, suggesting a more harmonious, interconnected view of identity.

Both artists have had an influence on project and how I wanted to approach the concept of exploring identity through photography. I have taken inspiration from Hockney’s use of fragmented images and the idea of conveying multiple perspectives into one image. His work has inspired me to think about identity in terms of its complexity and fluidity which often leaves people feeling lost and alone as they struggle with embracing or even knowing who they truly are. Hockney’s joiners where he uses a multitude of images from different perspectives to create a distorted yet cohesive image, inspired me to highlight the idea that identity is a complex journey one must go through in my work. By distorting peoples faces using multiple images of them, I hope to emphasise the message that you are not alone and others also feel the chaos portrayed in the images. Similarly, Monreal’s work has inspired me to explore how our identities are shaped by not only our internal thoughts and feelings but also by our environment and society. Towards the end of my project, I want to look into the different external influences (eg culture, history, and nature) that play a role in shaping who we are and show how these differences make us unique and valuable. This will hopefully inspire those who look at my work to not conceal certain parts of themselves in order to conform to societal expectations. Ultimately, both Hockney and Monreal’s work have shown me that identity is not a singular or fixed concept, it is continually changing and shaped by both internal and external factors. Their work has encouraged me to explore different, alternative ways of representing identity. For example, through fragmentation, layering, and the blending of different perspectives as seen in Hockneys work, to digital manipulation in Monreal’s work that enhances the beauty of people that’s typically hidden inside. 

Bibliography:

[1]= Interview with Marcelo Monreal (no date) PHOTOGRAPHIZE. Available at: https://www.photographize.co/interviews/marcelomonreal/ (Accessed: 09 January 2025).

[2]= Hockney, D. and Joyce, P. (2008). Hockney on art : conversations with Paul Joyce. London: Little, Brown.

[3]= Goodreads.com. (2019). Pablo Picasso Quotes (Author of The Burial of the Count of Orgaz and Other Poems). [online] Available at: https://www.goodreads.com/author/quotes/3253.Pablo_Picasso.

[4]= The Art Story. (n.d.). Hannah Höch Photomontages, Bio, Ideas. [online] Available at: https://www.theartstory.org/amp/artist/hoch-hannah/.

[5]= Palmer, L. (2015). Words of Wisdom from Dada Genius Hannah Höch on her Birthday. [online] artnet News. Available at: https://news.artnet.com/art-world/words-wisdom-dada-genius-hannah-hc3ch-birthday-350867.

[6]= Bookey.app. (2023). 30 Best David Hockney Quotes With Image | Bookey. [online] Available at: https://www.bookey.app/quote-author/david-hockney [Accessed 1 Feb. 2025].

[7]= photoquotes.com. (n.d.). Quotes by David Hockney | PhotoQuotes.com. [online] Available at: https://photoquotes.com/author/david-hockney.

[8]= Bookey.app. (2023). 30 Best David Hockney Quotes With Image | Bookey. [online] Available at: https://www.bookey.app/quote-author/david-hockney [Accessed 1 Feb. 2025].

[9]= photoquotes.com. (n.d.). Quotes by David Hockney | PhotoQuotes.com. [online] Available at: https://photoquotes.com/author/david-hockney.

[10]= Bookey.app. (2023). 30 Best David Hockney Quotes With Image | Bookey. [online] Available at: https://www.bookey.app/quote-author/david-hockney [Accessed 1 Feb. 2025].

[11]= OpenAI (2022). ChatGPT. [online] ChatGPT. Available at: https://chatgpt.com/.

[12]= ellieclaireartblog, A. (2016). Inside Outside – Artist Research – Marcelo Monreal. [online] Ellie Claire Fine Art Blog. Available at: https://ellieclaireartblog.wordpress.com/2016/12/08/inside-outside-artist-research-marcelo-monreal/.)

[13]= OpenAI (2022). ChatGPT. [online] ChatGPT. Available at: https://chatgpt.com/.

[14]= OpenAI (2022). ChatGPT. [online] ChatGPT. Available at: https://chatgpt.com/.

History of photomontage information from:

1. www.nationalgalleries.org. (n.d.). Photomontage | National Galleries of Scotland. [online] Available at: https://wwwnationalgalleries.org/art-and-artists/glossary-terms/photomontage
2. McCully, M. (2018). Pablo Picasso | Biography, Facts, & Famous Paintings. In: Encyclopedia Britannica. [online] Available at: https://www.britannica.com/biography/Pablo-Picasso
3. MoMa (n.d.). Hannah Hoch. [online] The Museum of Modern Art. Available at: https://www.moma.org/artists/2675

David Hockney information from:

King, E. (2024). David Hockney Art for Sale: Prints & Originals. [online] MyArtBroker. Available at: https://www.myartbroker.com/artist-david-hockney/articles/exploring-david-hockney.

Marcelo Monreal information from:

Ideas & Processes. (2018). Marcelo Monreal. [online] Available at: https://nickyb513882.wordpress.com/marcelo-monreal/.

ellieclaireartblog, A. (2016). Inside Outside – Artist Research – Marcelo Monreal. [online] Ellie Claire Fine Art Blog. Available at: https://ellieclaireartblog.wordpress.com/2016/12/08/inside-outside-artist-research-marcelo-monreal/.

PHOTOGRAPHIZE. (2019). INTERVIEW WITH MARCELO MONREAL. [online] Available at: https://www.photographize.co/interviews/marcelomonreal/.