David Hockney’s immersive display, titled Bigger & Closer (not smaller & further away), will open at Sydney’s Carriageworks in October 2026, offering visitors an interactive experience shaped by the late British artist’s voice and visual style. The exhibition, part of a global tour that included cities such as London, Seoul, Singapore, Shanghai, Manchester, and Aranya in China, attracted approximately 650,000 attendees during its previous iterations. This Australian debut marks the second major Hockney exhibition to take place shortly after his passing in June 2026 at the age of 88. The installation features a combination of immersive light projections, audio narration, and animated visuals of Hockney’s artwork. Recordings of the artist’s voice, collected from his early years, provide commentary on the pieces displayed, creating an intimate connection between the audience and the work. According to Richard Slaney, chief executive of Lightroom, which collaborated with Carriageworks on the project, Hockney was initially hesitant about revisiting his earlier work. “We had to sort of persuade him to look back at past work,” Slaney explained. The exhibition aims to reflect Hockney’s philosophical approach to perception and aesthetics rather than serving as a traditional biography. The exhibition is structured into thematic chapters, each focusing on different aspects of Hockney’s artistic journey. One section explores his fascination with opera, accompanied by a musical composition by Nic Muhly. Another delves into the concept of lines, highlighting recurring motifs in his work. The narrative shifts through key periods of Hockney’s career, including his formative years in Los Angeles. “There are chapters about music,” said Fergus Linehan, CEO of Carriageworks. “There’s a chapter about lines, so they tend to be more based around ideas within his work, although it does go through different periods, like when he was young and went to Los Angeles.” The Sydney venue, Carriageworks, was chosen due to its unique spatial dimensions, 23 metres long, 15 metres wide, and 10 metres high, which perfectly accommodate the immersive nature of the installation. Linehan emphasized that the exhibit aligns with his broader vision for the space, aiming to transform it into a more accessible public area. “We’re here to make this building as useful as possible, and to make it busy and consistently in use … particularly during the day, it creates a kind of constant flow of people coming in,” he stated. Visitors can enter the 55-minute experience at any time, making it flexible for individuals or groups. Slaney described the atmosphere as one where Hockney’s presence feels both personal and guiding, akin to a conversation with a cherished family member. “It’s his work all around you, but also he’s narrating it, but in a way that your favourite relative would tell you something in an art gallery over your shoulder while you’re looking at that painting that brings it to life,” Slaney said. The narration is unscripted, capturing Hockney’s spontaneous enthusiasm for his creations. Hockney himself took part in reviewing the installation, expressing admiration for the reinterpretation of his work. He was particularly intrigued by the idea of presenting his art in a new medium, allowing viewers to engage with it in ways he hadn’t previously imagined. His involvement ensured that the exhibition remained true to his creative intent while embracing technological innovation.
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