- Peter DoigBy Peter Doig, Richard Shiff, Catherine Lampert / March 17, 2017
- Peter Doig (Contemporary Artists)By Adrian Searle, Kitty Scott, Catherine Grenier, Hannes Schneider, Arnold Fanck / January 1, 2007
- Peter Doig: No Foreign LandsBy Stéphane Aquin, Keith Hartley, Angus Cook / October 31, 2013
Important Art by Peter Doig
In this mesmerizing canvas, pinpoint stars share a black and blue skyscape featuring a cloudy Milky Way. From the horizon a stretch of trees grows, glowing alien and coral-like, waving into the air as if in water. They are reflected beneath on a still black lake in which floats a lone girl in a canoe, her tiny body enhancing the painting's sense of scale.
The dreamlike work references Vincent van Gogh's Starry Night, produced a century before as an hallucinogenic, emotive, portrayal of van Gogh's view from the window of his room at the Saint-Paul-de-Mausole lunatic asylum. The piece also references a number of 21st Century elements, with its echoes of current literature and film combined with the artist's own experience and imagination, as is his signature style. Doig said: "The tree line is a mixture of what I could see from my working space in my parent's barn and other sketches I made of northern-looking pines and dying trees. The idea was the trees were illuminated by city light or artificial light from afar - I had just read Don Delillo's White Noise (1985) that influenced the light in these paintings as well." The girl slumped in the canoe references the final scene of Sean S. Cunningham's 1980 horror movie Friday the 13th in which an exhausted young female protagonist boards and then falls asleep in a canoe on an otherwise huge empty lake. The eery canoe in this would mark the entrance of a motif that would appear again and again throughout his work.
This mode of combining reality, memories, fictions, and images from film and photography became Doig's trademark style and marks a bold integration of postmodern pastiche and collage sensibilities with traditional painting and historical reference points.
On a snow-capped hill sits a large wooden house. Its roof is dusted with snow and there are dark forests in the background. On the right of the canvas a figure, which is cut off in the middle by the painting's edge. The bottom two thirds of the canvas are filled with a snowy, sometimes colorful, landscape. This work is rich in colors, textures and full of visual interest, but it is also obscure and hard to read. Much of the composition is overlaid with a large, floating orb.
This piece was begun during Doig's final year at Chelsea School of Art and would come to represent the beginning of the snow scene motif that would dominate much of his art.
Katharine Arnold of London auction house, Christie's, said: "In taking up archetypal images of Canada's landscape, Doig sought to distance himself from its specifics. These were not paintings of Canada in a literal sense, but rather explorations of the process of memory. For Doig, snow was not simply a souvenir of his childhood, but a conceptual device that could simulate the way our memories may be transformed and distorted over time." "Snow draws you inwards," Doig once said, which is why he so often used it as a device in his work, encouraging viewers to enter into his own remembered and filmic landscapes.
The circle in the middle of the piece is a visual reference to the opening scene of Orson Welles' Citizen Kane (1941), in which a flashback shows the protagonist (now on his deathbed) in an ambiguous snowy landscape. The circle also resonates with a number of theatrical and film devices: the spotlight, camera lens, etc. and this painting deftly harnesses the nostalgia, melancholia, and emotion of filmmaking, while amplifying the medium's ambiguity and mystery - this painting is a still moment that will not be explained at some other point in the narrative.
The snowflakes are both figurative and abstract, and play with mark-making techniques to show how a painter might think about both snow (descriptively) and the colored dots of an abstract composition (formally). The complex, yet whimsical, relationship between form, brushwork, and content in this work is an important moment in contemporary painting.
In Blotter we see a gloved figure standing on a sheet of frozen ice, watching his own feet as he appears to stamp in puddles, making ripples spread about him. His reflection is visible beneath and he is backed by a snowy bank, and higher up, a darkening forest. The movement on top of the ice is mesmerizing and the figure is totally absorbed in his action. The ice is rendered in calming purples, grays and blues.
The title referred to the process of building up color - literally soaking paint into the canvas - but also to the experience of being completely absorbed in a place or landscape. To start, Doig took a photo of his brother on ice onto which he had pumped water to create more interesting and vivid reflections. Doig was fascinated by the use of reflection in film, which is often used to represent an entrance point into another world. In this piece he reference's Jean Cocteau's 1950 film Orphée.
Additionally, blotting paper can be used to carry LSD, a drug that Doig took as a teen. Art critic Sean O'Hagan said: "A painting like the knowingly titled Blotter is charged with that heightened, fractured, but pinpoint-clear way of seeing that anyone who has taken the drug will immediately recognize." This was what Doig was trying to achieve with his work; he wanted the viewer to experience states of minds that are hard to describe.
Blotter won the first prize in the 1993 John Moores Painting Prize exhibition, representing a turning point in Doig's career, and an appetite for this strange and enticing form of Magical Realism.