Consisting of paintings, drawings, and prints— as well as a collaborative cinema project (see Studio Film Club, also in the 2006 Biennial)— Peter Doig's current practice is steeped in the culture of Trinidad, where he lived as a child and to which he returned in 2002. The hybrid social history of this Caribbean island and perceptions about its exoticism and remoteness inevitably come into play in Doig's intensely atmospheric works. "I'm interested in mediated, almost clichéd notions of pastoral landscape," the artist has said, "in how notions about the landscape are manifested and reinforced in, say, advertising or film. Yet at the same time, many of the paintings are rooted in my own experience." He operates in a range of pictorial modes and scales, encompassing imagery from art history, cinema, and tourist postcards while often reinventing and re-presenting his own figurative motifs. Like the work of his near-contemporaries Kai Althoff, Daniel Richter, and Laura Owens, Doig's paintings are at once ordinary and exotic, rational and hallucinatory.

MA

...read more about this artist in the Biennial Catalogue

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Cover of Reena Spaulings, published by Semiotext(e), 2005

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