Here, Hockney juxtaposes the freshly-cut logs against the verticality of the purple ‘totem’ suggested by a hewn trunk and the myriad blue trees that remain upstanding, protectively surrounding the dead wood. It is highly expressionistic, with vivid patterning.. Your eye is drawn along the line of the logs and the curve of the pink track on the left towards the Van Gogh whorl in the distant trees. https://gerryco23.wordpress.com/2012/02/25/david-hockney-a-bigger-picture/ While many of Hockney's best-known works were inspired by photographs, this work was painted in front of the motif, at the corner of an old Roman road in Yorkshire, near his birthplace. The purple palette renders the landscape contemporary and eternal, like a computer-generated fairytale. It is one of the largest in a series of timber and "totems", as Hockney calls the lone tree stumps depicted in these representations. Throughout his career, Hockney has been interested in returning to tradition in order to examine it, but with an almost scientific detachment that places the viewer off-center. This view, presented across fifteen canvases, has two paths of perspective leading down the two roads through the woods. This means that the visual plane contains two vanishing points, rebuking the one-point perspective that has characterized Western art since the Renaissance. It also transgresses the single perspective of the camera lens, the point of view that has come to define how we see the world in photographs. The painting's two vanishing points lead outward toward us, creating a kind of double vision that heightens the kaleidoscopic, hallucinatory effect of the piece. (http://www.theartstory.org/artist-hockney-david-artworks.htm#pnt_7)