PETER DOIGby Beatrix Ruf
Contrary to his hooded figure, Peter Doig does not sit in the landscape reconstructing the romantic image of the painter in nature. His own and other people's photographs, the sum total of the media image archives, the images of art history, the cinema, music, architecture, sports, landscapes -they are all realities in his studio that call forth but do not model his paintings. In his works, these realities overlap, generating the present as a juncture of places, times, ideas and styles. In the composition, all the methods of image generation from photography, film, and painting, as well as painterly reproduction techniques are used: the optical options of photography make use of perspectives, relations of size, and segmentation; his painterly technique uses all the artifice of art history: the specific styles of Segantini, van Gogh, Munch and Edward Hopper appear just as much as pointillist effects, impressionist traits, Pollockian all-over patterns, clumsily-naive illustrative techniques, or water colour effects painted in oil. In so doing, Doig's painting insists on the triviality of painting as such, allowing itself to become hypersensitive, or smudging its contours, or cancelling itself out.Read the entire articleSource:
Covered by Bonnefanten.nl
Peter Doig was born in 1959 in Edinburgh (Scotland) and grew up in Trinidad and Canada. At the age of 18, he moved to London and studied at the Wimbledon School of Art (1979-80), the St. Martin's School of Art (1980-83) and - after a temporary return to Canada - at the Chelsea School of Art (1989-90). Straight after that, he won the Whitechapel Artists Award (1990), and his first museum presentation soon followed. In 1994, he was nominated for the prestigious Turner prize, which put him in the international spotlight.
With his large-scale, old-fashionedly laboured landscapes and pastoral themes, Doig was the odd one out in the London of the early nineties, where the Young British Artists, led by Damien Hirst, were attracting attention. Nowadays, Doig is mentioned in the same breath as contemporary figuratives such as Luc Tuymans and Neo Rauch, who are giving convincing shape to a new-symbolic form of painting. This iconic form of painting does not really dismiss the figurative meaning of an image, but it certainly does not provide a one-to-one relationship with the perceptible world. Photography and film are important sources for these artists, and they draw freely on them, recognizing the suggestive narrative power and subdued tension of a well-chosen film still or photo. Read the entire articleSource: