"Doig’s [works] offer a distillation of references and experience, albeit one with a somewhat hallucinogenic, giddying cast. His [works] occupy a place between personal and collective experience. He suggests other hinterlands too: the places where the city untidily peters out into the country; the point at which the painter stops attending and begins inventing, and becomes a beholder of the unfolding of an unplotted act… As images these couldn’t be produced in any other way than as [pictures]. There is a hinterland between a depiction… and its delivery, and it is here that Doig’s [works] are at their most specific and descriptive, and the viewer’s sense of displacement is felt most acutely" (A. Searle, quoted in Unbound: Possibilities in Painting, exh. cat., Hayward Gallery, London 1994, p. 30).
*Peter Doig, Untitled signed, titled and dated ‘Peter Doig Untitled 1992’ oil and wax crayon on paper