Research file imagery:
‘Seeing a play, listening to music You’ll always contextualize it in your own way. Whoever you are, wherever you are.’
Peter Doig is a figurative painter whose lush dreamscapes at once evoke his medium’s past and suggest the feel of photos and films. He works in an airy old rum factory with a digital projector on one wall, a large screen on another, and a homey bar stocked with coconut water and local Stag beer, he hosts free screenings. Each Thursday night, FilmClub’s patrons thrill to independent and art-house films.
Doig stated ‘[…] it’s only a couple where the references are direct. But I think my paintings, certainly, are filmic. I mean, how could they not be? I just think so many people—writers, musicians, whoever—are so influenced by film. You can’t get away from it; it permeates things. It’s been here in Trinidad one hundred years. And certainly, my work has reflected that, those kinds of experiences.’
‘I really, really liked the idea that I was studying to be a painter, because it was such an odd thing to do, in a way; it was like being a poet. There were no art careers in my generation. No one really expected to get an exhibition, even to sell a painting, until they were at least thirty.’
‘I think in some ways my paintings, now, have been influenced by the (Studio Film Club) posters. Just because the posters are made so quickly, almost thoughtlessly, I surprise myself sometimes in a way I never used to let myself with my real paintings.’
‘Five years ago it was cheaper to pay a guy to spend ten hours in the hot sun, painting a Stag bottle on a wall as advertising: now you can just print one up. It’s tragic—but I think it’s happened all over […] plastic signs going up where you once saw hand-painted ones. But when I came back to Trinidad, one of the things I was so attracted to here were these signs on the street. Often the wording was quite abstract to the outsider’
Lecture notes: Art Languages