彼得•多伊格

彼得•多伊格生於愛丁堡,在特立尼達和加拿大成長,1979年返回英國。他就讀於溫布頓藝術學院和聖馬田藝術學院,其後於倫敦切爾西藝術學院攻讀藝術碩士課程。2002年返回特立尼達生活及工作至今。

雖然多伊格的作品幾乎全都是風景畫,但他卻是一位另類的風景畫家,亦一直抗拒與傳統風景畫扯上關係。他的作品不拘一格,所描繪的風景,是記憶與想像之間的形象,靈感來自都市生活中偶遇的攝影或電影題材,或童年時期的風景印記。畫面基本上是虛假的形象,帶有奇特的色彩和光影效果、不協調的透視角度和繪畫傳統與技法的融合。在白雪覆蓋的山坡上,在池邊或湖畔,在森林或沼澤裡都可見一些人,但他們的出現,似是基於構圖上的考慮。叢林間我們也可隱約瞥見富有現代特色的建築或小屋,但它們存在於這地方的原因卻難以考究。

多伊格作品中的風景是來自他童年的印記。在大幅的帆布上重現了加拿大遼闊的土地,除了憑藉個人記憶外,還會結合觀賞者對該土地的概念,以及人們對某些地點的共同回憶。廣闊的全景,教人想起相關的電影畫面。多伊格亦承認作品加入了電影中連環鏡頭的效果。他曾對自己其中一件作品這樣形容︰「這是《國家地理雜誌》中的一張照片的再演繹,令我想起兒時魁北克家附近的一個地方。作品所描繪的,盡都是憑記憶組成的虛構場景。」

這次展出的十幅蝕刻版畫,都是多伊格根據自己在1992至95年初的繪畫作品而製成的。他形容這過程是「為以往一些作品編製目錄」。蝕刻版畫的原稿是繪畫,而繪畫的藍本則是照片,照片多是由他自己拍攝的。除了其中三幅外,其餘作品都是對他小時候在加拿大住處的描繪。名為《混凝土小屋》的兩件作品,描繪的是法國東北部柯布西耶設計的「馬賽公寓」。

《無題(綠色)》(1998)是多伊格對油彩紙本研習的作品之一,部分靈感據說來自肖恩•坎寧漢的恐怖電影《黑色星期五》的結局。

多伊格的大型回顧展曾於2008年在泰特英國美術館舉行,其後到巴黎現代藝術博物館和法蘭克福席恩美術館作巡迴展出。其他個展包括:達拉斯美術館(2005);慕尼黑現代美術館(2004);伯恩方頓博物館(馬斯特里赫特,2003);以及白教堂畫廊(倫敦,1998)。1994年獲提名「特納獎」。

Peter Doig

Edinburgh born Peter Doig spent his childhood growing up in Trinidad and Canada before coming back to the UK in 1979. He then attended both Wimbledon School of Art and St Martin’s School of Art before going on to study for his MA at Chelsea School of Art in London. He returned to Trinidad in 2002 where he now continues to live and work.

He established a reputation as an artist whose oeuvre consists almost exclusively of landscapes, but he is a landscape painter only in a very altered sense of the classification. He has always resisted association with the landscape tradition and his work is not concerned with the rigid conventions of a genre. The landscapes he represents are images hovering between memory and imagination, triggered by photographic or cinematic sources chanced upon during urban existence or from the repertoire of personal memories of the landscapes of his childhood. These are essentially artificial images that use a curious range of colours and light effects, inconsistent perspectives and a fusion of pictorial conventions and techniques. Amidst the snow-covered slopes, by a pond or a lake, forest or swamp, figures can be discerned but they appear only to fulfil some formal function in the composition. What narrative these figures form part of is unclear. Modernist buildings or cabin style houses are glimpsed through gaps in trees but their function in this location is equally uncertain.

Doig evokes the landscape of his childhood. On big canvases, he replays the vast landscape of Canada, using not only his own bank of memories, but also the viewer’s own conceptions of that landscape and shared memories of place. The broad panorama is reminiscent of cinema film and its scope. The artist has acknowledged the effect of film sequences on his work. He has described one of his paintings as “a rendering from a photo found in National Geographic that served as a reminder of a place near where I lived in Quebec as a youngster. It is a fairly fictitious view of a memory”.

The ten etchings shown in this exhibition derive from Doig’s own paintings from the period 1992 to early 1995. The artist describes the process as “a way of cataloguing some of the work I have made over the previous years”. While all the etchings originate from the paintings, the paintings in turn originate from photographs, mostly taken by the artist. All but three prints relate to his childhood home of Canada. The two works entitled Concrete Cabin refer to Le Cobusier's Unité d'habitation in North East France.

Untitled (Green) (1998) is one of a number of oil on paper studies made by Doig, the inspiration of which is said to have partially come from the concluding moments of the Sean Cunningham horror film Friday the 13th.

Doig has had a major retrospective exhibition at Tate Britain, 2008 which toured to Musée d’Art moderne de la Ville de Paris and Schirn Kunsthalle Frankfurt. Other solo shows include Dallas Museum of Art, 2005; Pinakothek der Moderne, Munich, 2004; Bonnenfanten Museum, Maastricht, 2003 and Whitechapel Art Gallery, London, 1998. Doig was nominated for the Turner Prize in 1994.