米歇尔在《图像学》一书中提到“把形象当作形象来直接理解……是一回事儿，而就形象的一般性质建构的思想则是另一回事儿”[[[] [美]W.J.T.米歇尔？陈永国，图像学:形象,文本,意识形态，北京：北京大学出版社,2012年，第1页。]]。 本文主要是以英国当代艺术家大卫·霍克尼(Hockney，David)的作品《我的母亲》系列作为切入点，通过对他作品的深入研究，认识到大卫·霍克尼将图像转化为绘画语言的方式，在这过程中对笔者的学习和当代丝网版画创作具有启发意义。 如今，大卫·霍克尼是最著名和最受欢迎的英国画家之一，他以摄影拼贴来开拓现代绘画语言，当传真机、宝丽来相机、智能机、I-pad和I-phone在他的手中，他便能运用这些不同的媒介与现代绘画艺术结合，形成了一种新的语言和绘画形式。在他看来，摄影同绘画相比，摄影的优点是可以快速与外界获得交流，具体地说，是与当下社会快速发展的速度相贴合。他与其他艺术家有所不同，他通过对毕加索立体派的深度研究，融入了新一代的技术与媒介，并加入他自己对于艺术的精准剖析，运用多点透视的拼贴图像来实现移动对焦，从而创造出“霍克尼式”的拼贴。霍克尼运用宝丽来相机来进行摄影并加以拼贴，依次把冲印出来的图像叠加在一起。这样的处理手法比使用摄像机里的广角镜更加生动，拍摄的人物更加真实。在霍克尼看来，照片是一种能够成为唤醒记忆的工具，一切记忆中没有相干的东西和观察到的东西都可以相互联系，并反映在最终的绘画中，因此保留了记忆中最佳的图像。霍克尼认为用相机画画可以是一种媒介，不能说是艺术，更不能说是爱好，而是一种激励人心的绘画工具。从大卫·霍克尼的作品中，不单能够发现艺术家的创作突破了现有的图像模式，而且能够观察到他的创作对于语言自身的深度思考和斟酌，同时深入到对艺术本质的思考，重点关注生活周围的环境和社会化问题。从传统的绘画作品到独具一格的拼贴艺术作品，他的作品跨越了各种媒介材料，并用极具特色的审美角度打破了人们对于西方绘画的传统观念。 在这个图像时代，绘画几乎总是利用各种媒介或当今的现成图像，艺术家“篡改”和“挪用”这些图像的内容，尝试通过艺术创造脱离图像对人类的控制，并试图通过使用绘画的本体语言创造图像时代的“新颖”图像。这引起了笔者对图像的缺失与生成产生了思考。能否把一个现成的图像抽离，以及它对创作有什么启示？本文试图通过分析大卫·霍克尼如何使用图像以及个人和社会，图像与形象等关系，从而探讨图像的观念如何成为连接艺术语言、艺术精神与社会价值的驿站。本篇文章分为四个部分，主要内容包括：第一章节讲述图像与形象的关系，拼贴艺术以及图像传播及其效应的影响；第二章节从大卫·霍克尼认为摄影机伪造事实，质疑照片的真实性，从中找到新的平衡与制衡。探讨大卫·霍克尼在受到了中国卷轴画的影响下，如何再次对图像进行重新编排；第三章节主要论述大卫·霍克尼的作品《我的母亲》系列为主，对大卫·霍克尼的独特艺术表现手法进行总结，进而揭示摄影拼贴如何体现图像的观念；第四章节重点揭示本研究以激发丝网版画创作语言的广度和深度，形成一种全新的认知。

"It is one thing to understand an image directly as an image... but quite another to construct a thought in terms of the general nature of the image". This article mainly takes the work Mother of British contemporary artist David Hockney (Hockney, David) as an intervention point. Through in-depth research on his works, it is concluded that David Hockney transformed images into painting language. The inspiration for the author's study and research in the process of contemporary silk stencil creation. Nowadays, David Hockney is the most famous and popular British painter.He uses photographic collage to develop modern painting. When fax machines, Polaroid cameras, smart-phones, I-pads and I-phones are in his hands, he can use these different media to combine with modern painting to form a kind of New languages and forms of painting. He believes that photography is easier to spread than painting's only advantage, specifically, it is more relevant to the public. Different from other artists, Hockney combines different media and techniques based on Picasso's stereoscopic view, collage of photographic photos in more perspective to obtain a moving focus effect, thereby creating Hockney's collage. He uses Polaroid photography to make collages, and superimposes the printed images in sequence, which is closer to the real object than a complete mirror photo, which will make the people in those photo objects more realistic and complete. Photos can be used as a tool to evoke memory. All things that are not related in memory and things that have been seen before will be connected with this "tool" and finally reflected in paintings, thus leaving memories in memory. The best part. Painting with a camera, believes that the camera may be a medium. It is not an art, nor a technique or skill, nor a hobby. To be precise, it should be just a tool and an exciting painting technique. Tool. From the works of David Hockney, we can not only see how the artist breaks the inherent traditional image mode to create but also can see that his artistic creation goes from researching and thinking about the language itself, in the meantime, going deep into the Reflections on the nature of art, with a strong focus on living environment and social issues. From paintings to unique collages, his work spans a variety of mediums and subverts the perception of Western painting with a unique aesthetic perspective. Almost all paintings in the image age make use of various current media or ready-made images. Artists “tamper” and misappropriate the content of these images, trying to get rid of the image’s control over human beings through artistic creation, and he paints in a new way.At last he get new image generation. This would make the writer think about the lack and the production of the image. Can a ready-made image be extracted, and how it affects creation? This article attempts to explore the transformation relationship between painting and video language by analyzing how David Hockney uses images and the relationship between individuals and the public, image and identity, and trying to discuss and answer these questions. This article has four chapters,Chapter one is a question of the relation of image to iconography, collage art, and the dissemination of images and their effects; the authenticity of the film, and finding new balances and squelches and balances. Discusses how David Hockney re-arranged the images under the influence of Chinese scroll paintings; the third chapter mainly discusses David Hockney's work "Mother", and it is very important to David Hockney. Summarize Hockney's unique artistic expression method, and then reveal how photographic collage reflects the concept of image. Chapter four mainly expounds on these researches, so as to trigger the expansion of the creation language of silk stencils and produce new ones awareness.