Peter Doig

Submitted by admin on Fri, 09/16/2016 - 21:33

people in a boatMore Images for Peter Doig


  • Painting becomes interesting when it becomes timeless.
  • I would never finish a painting if I didn't have a deadline.
  • I do feel Scottish in some way. Maybe it's to do with visiting my grandparents here every summer as a child, but I am aware of my Scottish ancestry. It's there all right, but it would be pushing it to label me a Scottish painter. Or, indeed, an anywhere painter.
  • It's still an escape for me, painting, so it also takes me elsewhere. I don't think I would do it otherwise.
  • It's not about perfection. What's a perfect painting? What's interesting about a perfect painting?
  • I think if I was Trinidadian, I would latch more on to the myths and romanticise the place more. I don't think it's my place to do that - they're not really mine. I'm an outsider.
  • If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
  • You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.
  • As an artist, you are aware there is this strange money market out there, but you have no sense of how it works.
  • I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.


Peter Doig was born in Edinburgh, Scotland on 17th April, 1959. In 1962 he moved with his family to Trinidad, where his father worked with a shipping and trading company, and later to Canada, and Peter returned to London to study art. He now has a studio in Trinidad.

Many of Doig's paintings are landscapes, somewhat abstract, with a number harking back to the snowy scenes of his childhood in Canada. He draws inspiration for his figurative work from photographs, newspaper clippings, movie scenes, record album covers and the work of earlier artists. His landscapes are layered formally and conceptually. A lot of his work is very accurate, but, spots of colour break through, as if from another dimension, and create a magical effect.