Hockney continues to paint the spatial experience of the East Yorkshire landscape. He develops a method where he is able to work on a large scale outdoors by using multi-canvas paintings that join to form onelarge picture. The first exhibition of these paintings together with their earlier single and double canvas counterparts is at Annely Juda Fine Art, London in September 2006.

The following year with the aid of digital photography his multi-canvas compositions culminate in the largest painting Hockney has ever made, comprising some 50 separate canvases that were painted outdoors and formed one giant painting measuring 4.5 x 12 meters titled Bigger Trees that occupied a whole wall at the Royal Academy Summer Exhibition where it was first shown in 2007. Following his strong interest in watercolour, Tate Britain invited the artist to curate the largest exhibition of Turner watercolours Hockney on Turner Watercolours that was shown from June 2007 to February 2008. To coincide with the exhibition Tate Britain also exhibited a selection of five of Hockney’s latest six-part Yorkshire Landscape paintings from the Woldgate Wood series (previously included in the L.A. Louver exhibition, David Hockney, The East Yorkshire Landscape February March 2007) marking his 70th birthday. Later that year Hockney travels to Germany to see the exhibitionof Edvard Munch at the KunsthalleWürth, in Schwäbisch Hall.

The subject matter of the East Yorkshire landscape in all its various seasons continues to stimulate Hockney. It is a landscape he has known since he was a boy when he used to work on a farm in the area during the school holidays. Gives  his 50 canvas painting, “Bigger Trees Near Warter”, to Tate Britain at a Press Conference in April. Exhibits ten of the Woldgate Woods paintings,"Looking at Woldgate Woods" at The Arts Club of Chicago in which all the works shown were devoted to just one of the Yorkshire landscape motifs that inspired him. Hockney begins to use the camera and large format prints as a means of production of the multi-canvas paintings to assist in the assembly of these massive works. His assistant photographs stages of the paintings on location and later makes prints in  the studio of the individual panels in order to view them together at a smaller size to track the development of the painting. This method allows him to work on location yet in context of the work as a whole.