No Foreign Lands, Peter Doig's Love Affair
Edinburgh is most fortunate to have a survey of Peter Doig's work this summer and fall at the Scottish National Galleries. Adrian Hamilton writes about his approach to painting for the Independent
...he speaks of oil paint almost as a lover, treasuring the way it drips on the canvas, thins with the brush stroke and changes as it hardens. “It’s a form of magic and alchemy,” he declares in an interview with Angus Cook....waxing lyrical about the “way it congeals and how it takes on a different character when it goes bad, and the way that certain colours produce different kinds of dryness, and all those little things that may not seem important at all, but I think are ultimately incredibly important really”.
It’s a love affair, a form of eroticism at times, which makes his figurative and pure landscapes fluid in their feel, edging towards abstraction, often opaque and frequently at the point of dissolution. The figures are solid enough, based on photographs he has taken or collected, but they are seen slightly out of focus as if they existed in memory or in dreams. Doig is an artist who tries to do what poets do with language, to capture images as retrieved in memory, not as they are but as we recall them.
|Pelican (Stag), Peter Doig|
|Pelican (2004) by Peter Doig|
|Lapeyrouse Wall (2008) by Peter Doig|
|Grande Riviere (2001-2) by Peter Doig|