Dimensions: image: 150 x 205 mm
Copyright: © Peter Doig | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Peter Doig's "Red House" presents us with a rather unsettling, yet beautiful scene. What are your initial thoughts? Editor: It feels like a memory, hazy and filtered through rose-tinted glasses, but with an undercurrent of something a little sinister. Curator: Exactly! Doig often plays with memory and perception. Look at how the red of the house almost vibrates against the muted background, creating this disorienting effect. It suggests a domestic space, but the figures in the foreground seem detached. Editor: It's like they're sleepwalking, or maybe ghosts haunting the landscape. I am left wondering where they are going, or what they might be running from. Curator: And that, I think, is the beauty of it. It taps into our own anxieties and curiosities, inviting us to project our narratives onto this strange, compelling world. Editor: It's definitely a mood, one that lingers.
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Ten Etchings is Doig’s first print portfolio. As the title indicates, it is a suite of ten etchings. The portfolio was produced in an edition of thirty-five. Tate’s copy is one of six additional proof sets. Each print is individually signed and numbered ‘TC’ (Tate copy) by the artist. The portfolio is presented in a red artist’s solander box with title and colophon pages designed by Peter B. Willberg. It was printed at Hope Sufferance Press, London on 350gsm Zerkall paper and published by Charles Booth-Clibborn under his imprint, The Paragon Press.
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