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“I thought of him as someone who’s just landed on these shores,” Doig told me. Doig hated the rigorous academic program, and after three years his parents let him come home. Yet his paintings are also taken up with by broader, looser concerns. The image stayed with him. Doig gave his own face to the man riding the black horse, although you wouldn’t know it—he looks merciless, and possibly dangerous.

“At first, I thought he was trying to rescue the bird, but when he came up on the beach and started walking toward us, dragging it by the neck and spinning it, we realized he was wringing its neck.” The way the man looked at them as he passed seemed “a little threatening,” Ofili said. At first, he used a felt-tipped pen to transfer to canvas the details and the shapes he wanted; later, he switched to charcoal or thinned-down paint, applied rapidly and fluidly, not meticulously.

Or the exploration of the formal possibilities of the bather figure that was first seen in 2017 at Michael Werner London. The third man, in a diamond-patterned harlequin shirt, seems to be filming the other two with a small movie camera.He signed up for a one-year foundation course at the Wimbledon School of Art, where he met another student, Bonnie Kennedy.
The canoe, the fragile, lightweight vessel that opened up Canada’s vast interior, had an iconic appeal to Canadians, and also to Doig. A ghostly human attendant approaches from around the corner. This slightly tentative figure is based on a photograph of a young Robert Mitcham in Trinidad in the 1950s.In this substantial exhibition of new work in the light-filled main gallery of the Vienna Secession, we are in company with an artist delving deeply into the realm of painting. It was “Friday the 13th,” Sean Cunningham’s cult horror film, and what he saw was the sequence after the murders, when the only survivor, a terrified young girl, has escaped in a canoe, alone on the lake. In the center, between the trees, a mysterious figure faces the hockey player but looks down, as if in deep meditation. The incident that led to the painting, “Pelican (Stag),” is even stranger. It verged on caricature—Roy Rogers on a rearing horse, on top of a New York taxi in rush-hour traffic. Six years earlier, when Doig graduated from St. Martin’s, he had turned down an offer to attend the one-year graduate course at the Chelsea School of Art, but now, at thirty, he applied and was accepted. His legs are a deep, reddish-brown color. Echo’s mother is Parinaz Mogadassi, who was born in Tehran.Over the next few days, Doig made several drawings of the incident, but they didn’t capture the way he remembered it: “They weren’t as menacing.” He put the idea aside, but later he came across a postcard of a man dragging a fishing net on a beach in India; the man’s posture and the way he moved coincided with Doig’s memory of the pelican slayer, so he made a drawing of it and used that as a model for the figure. Three years later, the family moved to Trinidad, where his father, David, had been sent by the shipping company he worked for. A Doig painting usually begins with an idea, and years can elapse before the right configuration of memory, chance associations, art-historical references—he seems to remember every painting he has ever seen—and images from his visual archive brings it to completion. Peter Doig is a generous interviewee. One of the most renowned living figurative painters, he has settled in Trinidad since 2002.
I suggested.

One of the most renowned living figurative painters, he has settled in Trinidad since 2002. The houses in these early paintings look uninhabited and desolate, and you see them through a screen of trees or underbrush, or blurred by falling snow. He wants to “infuse his work with his life,” Ofili told me, but the autobiographical references are indirect, not specific. “So many ideas have come out of these paintings,” Doig said.

There is a sense of expectancy, as though we are looking at a stage set where a performance is about to begin.A tall, bearded man in white shorts walks across a tropical beach, glaring at the viewer. Peter Doig, Paintings will open on 6 September 2019 with a reception on 5 September from 6-8PM. I had a serious crush, and was amazed when he reciprocated.