Among the Orange Trees

The text analyses Paolo Sorrentino and David Hockney’s technical approaches, focusing on their understanding of observation as a fundamental method for image-making. It connects spring, the hand and repetition with film and painting, highlighting the synthetic qualities of both media. Sorrentino’s films and Hockney’s paintings challenge the naturalistic laws of representation, while, through hyper-aestheticisation and references to the Western artistic canon, they create visual reference points that shape and standardise the aesthetics of transitional moments.

The integral version of this article can be found in the printed KINO!