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Hockney / Paricio: Cycles of Renewal, an exhibition of works by David Hockney and Pedro Paricio, opens at Halcyon’s flagship gallery at 148 New Bond Street on 7 April 2026.
Timed to the arrival of spring in London, the exhibition considers how artistic ideas return, shift and gather new life. Across portraiture, still life and landscape, Cycles of Renewal traces the ways both artists draw on place, memory and art history, while arriving at markedly different visual languages. What emerges is not simply a conversation between two painters, but a broader meditation on how artists revisit subjects, forms and traditions without ever repeating them.
Over a career spanning seven decades, Hockney has remained one of the defining artists of the contemporary era. Restless, probing and formally alert, he has continually reshaped his practice, moving across media with unusual ease. At Halcyon, visitors encounter this appetite for reinvention through iPad drawings, computer drawings, lithographs and etchings. Together, these works show how new tools have never been secondary to Hockney’s vision, but integral to the way he extends it.
For Paricio, the past is not a static inheritance but something active and generative. Cycles of Renewal includes a new group of paintings that revisit some of Hockney’s most recognisable subjects. Rendered in Paricio’s kaleidoscopic patterns and heightened colour, these works do not imitate so much as transform. They reveal an artist absorbing another’s way of seeing and filtering it through his own sensibility. In that sense, Hockney’s influence on Paricio belongs to a longer continuum: Cézanne informing Picasso, Picasso informing Hockney, and so on through the history of painting.
Hockney / Paricio: Cycles of Renewal at Halcyon Installation viewParicio considers his practice as an artist to be a profound commitment, describing it as something ‘to live and die with’; the ultimate expression of humanity’s fundamental impulses is the desire to understand and to represent. Seeing Hockney as ‘the last living painter in the tradition of the great masters of painting’, the British artist has profoundly influenced Paricio’s artistic vision.
Landscape is central to both artists, though each responds to it in his own register. Hockney’s move from England to Los Angeles in 1964 changed the course of his work, opening it to the sharp light and spatial drama of Southern California. Later returns to Yorkshire in the late 1990s, and his time in Normandy during the Covid-19 pandemic, deepened that engagement with the natural world. The exhibition includes works from Hockney’s celebrated Arrival of Spring, Road Near Kilham and Normandy series. These digital and iPad works renew the long tradition of painting outdoors, translating close observation into images that feel at once immediate and historically aware.
Paricio’s relationship to landscape begins in Tenerife, where volcanoes, laurel forests and beaches shape the visual atmosphere of daily life. That terrain reverberates through his own paintings, where colour is intensified and form pushed towards a charged, near-abstract rhythm. Works such as Pacific Coast, Canyon and Timber Line carry that sensibility into the gallery. In one of the exhibition’s clearest juxtapositions, Paricio’s Canyon is shown alongside Hockney’s 1993 screenprint Slow Rise, inviting viewers to consider two very different approaches to structure, surface and sensation. In Timber Line, Paricio also nods to Hockney’s monumental Winter Timber, shown in the artist’s major 2025 retrospective at the Fondation Louis Vuitton in Paris.
Another thread runs through Paricio’s responses to Hockney’s pool paintings, among the most iconic images in post-war British art. In Paricio’s Pool series, that source material is broken open and recast through geometric pattern and heightened chromatic energy. The sequence culminates in the monumental triptych Pool with Two Figures on a Landscape, which draws schematically on Hockney’s Portrait of an Artist (Pool with Two Figures) while turning the familiar scene into something more fractured, luminous and unstable.
Still life offers another point of exchange. Paricio’s Tulip series is shown in relation to Hockney’s floral iPad drawings, setting up a dialogue between two artists equally invested in reanimating traditional motifs. Hockney’s digital flowers carry the freshness of direct looking, while Paricio’s paintings move in a more interpretive direction, using abstraction and colour to test how far a classic subject can be stretched without losing its emotional charge.
Hockney / Paricio: Cycles of Renewal at Halcyon Installation view Elsewhere, the exhibition includes works from Hockney’s Moving Focus series, one of his most intellectually layered bodies of work. These paintings and prints draw on Renaissance perspective, the shifting spatial logic of Chinese scroll painting, and the fractured viewpoints of Cubism. They also fold in references to Hockney’s own photographic experiments and to recurring motifs from art history, including the chair, which carries echoes of Vincent van Gogh and others. The series speaks to Hockney’s long-standing refusal to accept a single, fixed way of seeing.
At Halcyon, Cycles of Renewal makes a persuasive case for artistic influence as something living rather than deferential. Hockney and Paricio meet across generations, media and temperament, each alert to the possibilities of renewal. The result is an exhibition that treats art history not as backdrop, but as material: something to be tested, reworked and made vividly present again.
Hockney / Paricio: Cycles of Renewal is open from the 7th April 2026 at Halcyon’s flagship gallery at 148 New Bond StreetLearn more
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