By the late 1990s, Hockney had tired of naturalism and desperately wanted to break free of it. He found refuge in landscapes like this, which use eye-popping color and play with perspective – note the way the road to York shoots out of the foreground at a vertiginous angle, before bouncing up the canvas and disappearing over the horizon. Hockney frequently drove over Garrowby Hill to visit his dying friend, Jonathan Silver, in East Yorkshire. This work evokes the sensation of watching the countryside from the window of his moving car, through which the undulating fields can seem both remote and near-at-hand, fixed and fast-moving. [https://www.1843magazine.com/culture/the-daily/david-hockneys-road-to-renewal]